UC-NRLF 


5b    IBM 


I  I 


HI 


! 


I 


F-  LAURENT  GOPI>'r.r! 


THE 

LIGHTING 
BOOK 


Light  may  be  used  for  decorative,  as  well  as  utility, 
purposes.  Here  both  are  combined.  If  too  bright 
lights  are  placed  within  such  decorative  candle  shades 
as  these,  the  pictorial  effect  is  destroyed  and  they 
become  annoying. 


THE 

LIGHTING  BOOK 

A  MANUAL  FOR  THE  LAYMAN 
SETTING  FORTH  THE  PRACTI- 
CAL AND  ESTHETIC  SIDES  OF 
GOOD  LIGHTING  FOR  THE  HOME 


BY 

F.  LAURENT  GODINEZ 
U 


NEW  YORK 
McBRIDE,  NAST  &  COMPANY 

1913 


Copyright,    1913,    by 
MCBRIDE,  NAST  &  Co. 


Published  November,  1913 


CONTENTS 

CHAPTER  I  PAGE 

LIGHT  AND  THE  EYE I 

CHAPTER  II 
THE  MISUSE  OF  LIGHT 8 

CHAPTER  III 
LIGHT  AND  THE  MIND-PSYCHOLOGY 23 

CHAPTER  IV 

THE  MODIFICATION  OF  LIGHT      .     .   .  -.     ...     .     32 

CHAPTER  V 
SEEING  BY  LIGHT  TRANSMITTED     .     .     »     *     *     •     •     41 

CHAPTER  VI 
SHADING  AND  REDIRECTING  LIGHT      .     »     •     •     .     .     47 

CHAPTER  VII 
LIGHT  ON  THE  PATH «     •  •  *     »•    .     56 

CHAPTER  VIII 
MAKING  THE  MOST  OF  LIGHT      .     .     .     ..-,'.     .     64 

CHAPTER  IX 
INDIRECT  LIGHTING 70 

CHAPTER  X 
INDIVIDUALITY  IN  LIGHTING 77 

CHAPTER  XI 
LIGHT  IN  THE  HOME 87 

CHAPTER  XII 
LIGHT  AND  DECORATION .     98 


THE  ILLUSTRATIONS 

Light  used  for  decorative  as  well  as  utility  purposes 

Frontispiece 


PACING 
PAGE 


Photographs  showing  effect  of  tungsten   lamp  with   and 

without   globe ;      .  4 

Booths  arranged  to  show  the  comparative  effect  of  various 

illuminants  and  their  globes     .      .      .      .      .      .      •  5 

Too  much  light 14 

Fixture  of  ground  glass  as  it  appears  in  daylight  .  15 

The  same  glassware  when  lighted   .      .-•'»'•      .      .  15 

Inverted  mantle «    .*     .      .  22 

Tungsten  lamps  used  in  proper  position     .      * .  •  > ,    .      .  22 

An  inclosing  globe  of  decorative  opal 23 

Comparison  booths  showing  the  action  of  shades  which  do 

not  entirely  inclose  lamps   .      .,*,*..      .      .      .  32 

The  various  types  of  inclosing  shades  contrasted   .      .  32 

Old  iron  fixtures  of  German  Gothic  design    .      »      .      .  33 

Portable  lamp  for  reading   .      .      .      ......      .  40 

Showing  the  eyebrow's  function  in  protecting  the  eye  .      .  40 

Results  of  gas  and  electricity  in  relation  to  their  fixtures 

contrasted 41 

White  tablecloth  a  reflector  for  light  from  an  overhead 

dome 46 

Comparison  of  various  reflectors  with  tungsten  lamps  of 

the  same  size 47 

Comparison  of  their  reflecting  surfaces  with  tungsten  and 

Welsbach   lamps 47 

A  lattice  skylight  of  diffusing  glass  panels 52 


THE    ILLUSTRATIONS 


FACING 
PAGE 


Veranda  lighted  with  the  usual  porch  lantern  ....  53 

The  same  veranda  with  indirect  lighting  equipment     .      .  53 

Dining-room  with  original  and  artistic  lighting     ...  60 
Examples  of  the  best  types  of  modern  glassware     .      .      .61 

Corner  of  a  room  where  indirect  equipment  is  used    .      .  66 

Appropriate  fixture  spoiled  by  ground  glass     ....  67 

Small  hall  well  lighted 67 

A  good  example  of  a  table  portable     ......  72 

Indirect  lighting  with  luminous  bowl   ......  73 

Indirect  lighting  with  a  portable  lamp  ......  78 

Modern  fixtures  adaptable  for  gas  ...•«..  79 

Effect  of  sidelights  unproperly  equipped     .....  84 

Suitability  of  indirect  lighting  for  bedrooms     »      .  85 

General  lighting  insufficient  for  local  requirements     .      .  90 

How  to  improve  kitchen  lighting     .      .      .      .      »      .      .  91 

Artistic  lighting  in  conjunction  with  articles  of  decoration  96 

Another  example  of  light  used  to  emphasize  the  details  of 

decoration 97 

Lighting  which  enhances  plaster  relief  work    «  •>    .      .      .  97 

Lighting  which  brings  out  a  painting    ......  IO2 

Ingenious  treatment  of  a  narrow  hall 103 


THE  LIGHTING  BOOK 


LIGHT  AND   THE   EYE 

"Oh  loss  of  sight  of  thee  I  most  complain." 

THE  human  eye  must  not  be  regarded  as  a 
mere  optical  device,  but  as  a  vital  anatomical 
organ,  which  is  really  an  extended  portion  of  the 
brain,  affecting  in  many  serious  ways  every  other 
organ  of  the  body. 

Artificial  light,  as  it  is  used  to-day,  is  more  than 
a  serious  menace  to  the  eyesight  of  our  nation.  In- 
deed the  lighting  of  our  public  places  and  most  of 
our  homes  is  dangerous  to  health  in  that  its  effect 
upon  the  eyes  is  ruinous. 

The  eye  has  often  been  compared  with  the  photo- 
graphic camera  in  order  to  show  light  is  trans- 
formed by  optical  magic  into  brain  pictures. 
This  analogy  is  appropriate — with  certain  limita- 
tions, that  may  best  be  defined  by  simple  analysis. 
The  cap  or  shutter  of  the  camera  admits  or  ex- 
cludes light  entirely;  the  eyelid  does  not.  It  is  so 
translucent  that  sleep  is  not  always  possible  in 
brightly  lighted  rooms. 


THE    LIGHTING    BOOK 


The  diaphragm  of  the  camera  admits  more  or 
less  light  to  the  sensitized  plate.  The  iris,  or 
colored  portion  of  the  eye,  automatically  decreases 
or  increases  its  aperture  or  dark  spot  called 
the  pupil.  It  is  nature's  automatic  protective 
mechanism.  On  looking  at  a  bright  light  or 
bright  surface  the  pupil  contracts,  excluding,  to 
a  certain  degree,  excess  light.  On  regarding  a 
darker  surface  or  space  the  pupilary  aperture  in- 
creases to  admit  the  necessary  light  for  perception. 
This  contraction  and  expansion  of  the  pupil  is 
not  instantaneous — unfortunately.  Thus  from  the 
sudden  explosion  of  a  flashlight,  the  pupil  does  not 
close  quickly  enough  to  protect  the  eye,  which  is 
evident  by  the  attendant  sensation  of  benumbed 
discomfort. 

All  of  our  physical  sensations  are  purely  relative, 
and  vision — which  is  a  physical  sensation  produced 
by  light  rays  received  by  the  retina,  and  transferred 
by  the  brain  cells  into  pictures — is  no  exception  to 
the  rule.  On  entering  a  brightly  lighted  room, 
after  having  been  for  some  time  in  a  comparatively 
dark  space,  the  brightness  is  exaggerated.  Con- 
versely, upon  returning  to  the  dark  space,  it  ap- 
pears absolutely  black  until  the  mechanism  of  the 
eye  slowly  adjusts  itself  to  normal  perception. 

What  exactly  transpires,  when  the  iris  contracts 


LIGHT   AND    THE    EYE 


and  expands,  changing  the  size  of  the  pupil,  is 
not  exactly  determined.  It  is  certain,  however, 
that  to  subject  the  eyes  to  such  brightness  as  to 
cause  prolonged  contraction  is  most  disagreeable, 
and  brings  attendant  dangerous  after-effects,  par- 
ticularly when  the  physical  exertion  caused  by 
such  abuse,  is  an  added  burden  to  an  overwrought 
or  ill-nourished  system.  This  is  the  case  of  thou- 
sands of  unfortunates  suffering  from  unphysiologic 
lighting. 

Thus  the  over-brightly  lighted  reading  page, 
perused  after  eating,  adds  to  the  continued  activity 
of  the  digestive  organ  an  extra  burden,  accounting 
doubtless  for  the  peculiar  sociability  of  those 
worthy  benedicks  who  fall  asleep  over  their  read- 
ing page  after  dinner. 

Similarly,  those  who  wander  from  the  subdued 
lighting  of  their  own  fireside  to  the  brilliant  glare 
of  the  modern  drawing-room,  or  the  over-bright 
screen  of  the  lecture  platform  or  moving-picture 
show,  find  an  inexplicable  feeling  of  drowsiness 
stealing  over  them,  due  entirely  to  continued 
pupilary  contraction  and  its  associated  exhaus- 
tion. 

To  revert  to  our  analogy,  the  lens  of  the  camera 
refracts  or  bends  rays  of  light  (reflected  from  an 
object  into  the  lens)  so  that  a  sharp,  minute  in- 


THE    LIGHTING    BOOK 


verted  image  of  the  object  is  formed  on  the  ground 
glass  observation  screen. 

The  sharpness  or  clearness  of  the  image  is  ob- 
tained by  "focusing,"  or  regulating  the  distance 
between  the  lens  and  the  plate  until  a  distinct 
image  results.  This  operation  is  automatically 
performed  in  the  eye  by  the  action  of  the  ciliary 
muscle,  which  changes  the  shape  of  the  double- 
convex  crystalline  lens,  thereby  "focusing"  light 
rays  by  refraction  so  that  they  converge  on  the 
retina  or  sensitive  inner  posterior  surface  of  the 
eye,  which  in  turn  conveys  the  sensation  of  vision 
to  the  brain  by  the  action  of  innumerable  minute 
rods  and  cones,  and  the  optic  nerve. 

Only  in  the  perfectly  normal  eye  do  the  rays  of 
light  converge  properly  on  the  retina.  If  the  eye- 
ball is  not  perfectly  spherical,  then  astigmatism, 
near  or  far  sightedness  (Myopia  or  Hyperopia) 
exists  and  glasses  must  be  worn  to  assist  the  lens 
of  the  eye  in  properly  refracting  light  Too  great 
care  cannot  be  exercised  in  the  use  of  glasses.  Be- 
cause a  pair  of  glasses  gives  very  distinct  vision 
is  no  reason  why  glasses  should  be  worn.  Always 
consult  a  reputable  oculist  or  ophthalmologist — 
the  term  optician  is  often  used  by  the  jeweler  who 
strives  to  increase  his  profits  by  posing  as  one 
qualified  to  correct  eyesight. 


LIGHT   AND   THE    EYE 


Glasses  selected  promiscuously,  even  thpugh 
giving  most  distinct  vision,  often  relieve  the  ciliary 
muscles  of  exercise  to  which  they  have  become  ac- 
customed for  years  in  changing  the  curvature  and 
regulating  the  accommodation  of  the  crystalline 
lens.  This  sudden  inactivity  often  results  in  catar- 
act or  hardening  of  the  lens  of  the  eye  until  it  be- 
comes white  and  opaque,  causing  blindness. 

The  eye  is,  with  the  exception  of  the  heart,  the 
most  active  organ  of  the  human  body.  Not  only 
are  the  twelve  extra  ocular  muscles  of  the  eye  em- 
ployed for  the  purpose  of  turning  the  eyeball  in 
its  socket,  incessantly  active,  but  the  ciliary  muscle 
is  also  continually  active  in  readjusting  the  crystal- 
line lens  for  distance  accommodation.  It  loses 
greatly  in  efficiency  at  the  average  age  of  forty-five. 

Astigmatism  is  very  prevalent.  Unquestiona- 
bly at  least  60  per  cent,  of  functional  headaches  are 
due  to  this  cause.  The  correction  lies  in  proper 
glasses,  which  will  correct — not  cure — the  evil. 

Many  a  child  has  been  characterized  as  stupid 
or  backward,  whose  misshapen  eyeballs  were  alone 
responsible. 

Astigmatism,  like  every  other  human  affliction, 
is  not  without  a  touch  of  the  grotesque.  Sufferers 
from  any  form  of  it  do  not  see  vertical  and  hori- 
zontal lines  with  equal  clearness.  Thus  to  one 


THE   LIGHTING    BOOK 


troubled  with  "astigmatism  in  the  vertical  me- 
ridian," the  vertical  lines  of  a  building  are  indis- 
tinct or  blurred,  while  with  "astigmatism  in  the 
horizontal  meridian,"  the  effect  is  reversed,  and 
the  blurring  of  the  horizontal  lines  gives  an  exag- 
gerated appearance  of  height  to  a  structure,  which, 
conversely,  with  astigmatism  in  the  vertical  me- 
ridian, would  appear  foreshortened.  Many  suf- 
ferers from  astigmatism  assert  positively  that  they 
can  "see  better"  at  certain  hours  of  the  day.  The 
explanation  of  this  delusion  is  that  the  hands  of 
the  clock  when  vertical  and  together — at  twelve 
or  6:30 — appear  more  distinct  to  a  person  astig- 
matic in  the  horizontal  meridian,  than  when  they 
are  in  the  horizontal  position  of  9:45  or  3  115. 

The  photographic  plate  is  not  very  sensitive  to 
yellow  light,  unless  specially  prepared,  whereas 
the  eye  is  more  sensitive  to  yellow  than  any  other 
color.  On  the  other  hand,  the  camera  plate  is 
particularly  sensitive  to  blue  and  violet,  which  in 
the  ultra-violet  range  of  the  spectrum  are  not  per- 
ceived by  the  eye.  The  camera  plate  has  often 
revealed  facial  eruptions  long  before  there  was  any 
visible  evidence  of  the  disease.  But  unless  ortho- 
chromatic  plates  are  used,  the  camera  will  not  re- 
produce objects  red  in  color,  and  is  but  slightly 
sensitive  to  yellow. 


LIGHT   AND   THE    EYE 


These  phenomena  will  be  of  assistance  in  the 
consideration  of  the  practical  problems  of  light- 
ing which  we  will  take  up  later  in  that  they  ex- 
emplify important  principles  often  neglected  both 
by  those  who  have  to  do  with  the  lighting  of  public 
places  and  those  who  are  responsible  for  the  light- 
ing of  the  home. 


II 

THE  MISUSE  OF  LIGHT 

"Light  seeking  light  doth  light  of  light  beguile." 

LIGHT,  like  life,  is  as  we  make  it.  It  may  be 
a  thing  of  parts,  a  source  of  comfort,  an  in- 
spiring influence,  an  element  of  the  beautiful,  or, 
it  may  be  as  it  is  to-day  just  a  part  of  things — in  the 
utilitarian  sense  a  "servant  in  the  house" — nothing 
more. 

There  is  no  other  product  of  modern  civilization 
that  exercises  so  great  an  influence  for  good  or  evil. 
Nerves  may  be  shattered  by  its  violent  use,  de- 
spondency and  melancholia  brightened  by  its 
subtle  influence.  Eye  strain  and  chronic  head- 
ache will  result  from  its  misuse.  Eye  comfort  and 
health  are  the  rewards  of  its  intelligent  apprecia- 
tion. 

Taken  as  it  is  to-day  in  allopathic  doses — as  an 
antidote  for  darkness — it  is  over-stimulating  and 
dangerous.  Assimilated  intelligently  in  visually 
palatable  homeopathic  form,  it  is  a  wonderful 
tonic,  almost  an  elixir — but  as  commercially  pre- 

8 


THE    MISUSE   OF    LIGHT  9 

scribed  by  the  incompetent,  it  is  pitifully  inade- 
quate, and  a  deadly  menace  to  the  eyesight  of  our 
nation. 

It  is  but  necessary  to  revert  momentarily  to 
cause  and  effect  to  perceive  the  raison  d'etre  of  this 
unfortunate  condition. 

In  the  wholesale  manufacture  and  distribution 
of  artificial  light,  we  are  confronted  with  the  in- 
evitable triangle  of  human  forces,  slightly  modi- 
fied from  the  conventional  triangle  of  the  drama, 
but  a  triangle,  nevertheless,  in  the  functional  sense. 
In  this  instance  the  triumvirate  consists  of:  the 
manufacturer  of  energy  in  luminous  form  from 
coal — popularly  known  as  "that  gas  or  electric 
light  company" — operating  by  franchise  as  a  pub- 
lic service  corporation;  the  manufacturer  of 
energy-transforming  devices — lamps  which  con- 
vert gas  or  electricity  (energy)  into  the  visible 
luminous  form  of  light,  and  their  accessories — 
lighting  glassware  and  fixtures;  and  the  public, 
which  is  theoretically  presumed  to  enjoy,  thrive, 
and  prosper  by  the  combination  of  the  first  and 
second  forces  named. 

The  word  combination,  as  implied  above,  must 
not  be  interpreted  to  mean  co-operation — at  least 
not  on  the  part  of  the  illuminant,  fixture,  or  glass- 
ware manufacturer — since  these  elements  have  been 


io  THE    LIGHTING   BOOK 

directly  responsible  for  the  many  unjust  and  un- 
merited criticisms  of  lighting  companies  by  the 
public.  Modern  electric  illuminants  of  such 
dazzling  brightness  as  positively  to  menace  our 
eyesight,  have  been  widely  advertised  by  their 
manufacturers  without  the  slightest  reference  to 
the  dangers  attending  their  misuse,  or  the  least  sug- 
gestion as  to  necessary  modifications.  Affiliated 
glassware  manufacturers  have  unloaded  upon  the 
public  a  product  whose  sole  attribute  has  been  its 
property  of  redirecting  light  rays.  The  question 
of  appearance  has  been  entirely  disregarded,  and, 
as  a  result,  we  are  surfeited  with  lighting  which  is 
utterly  devoid  of  attraction,  without  character, 
commonplace  and  injurious. 

Thus,  this  misdirected  commercialism  on  the 
part  of  the  tungsten  lamp,  glassware,  and  lighting 
fixture  manufacturers  is  directly  responsible  for 
the  critical  and  unsatisfactory  status  of  artificial 
lighting  of  to-day. 

While  the  contractor,  and  architect's  assistant 
(responsible  for  detail)  are  directly  blamed  for  the 
perfunctory  spirit  in  which  they  have  placed  im- 
possible lighting  equipment  in  the  home,  it  must 
be  admitted  that  they  have  been  utterly  dependent 
upon  these  makers  of  lighting  glassware  and  fix- 
tures for  working  data,  which  has  been  quantitive 


THE    MISUSE   OF   LIGHT         11 

but  inadequate  in  fulfilling  the  esthetic  and  physi- 
ologic requirements. 

In  this  regard  the  manufacturer  of  illuminants 
has  erred,  perhaps  as  a  victim  of  circumstances,  in 
heeding  the  unsound  advice  of  affiliated  lighting- 
glassware  manufacturers,  who  have  limited  their 
analysis  of  lighting  to  extremely  narrow,  technical 
considerations,  ignorantly  inspired  by  commercial 
avidity. 

An  eminent  authority  on  interior  decoration 
states:  "The  technical  man,  or  engineer,  has  nar- 
rowed his  perspective  by  an  exclusive  considera- 
tion of  economic  and  utilitarian,  rather  than 
esthetic,  considerations.  He  has  knowledge  of 
lamps  and  their  construction,  but  smiles  indul- 
gently and  with  smug  complacency  at  the  mere 
idea  of  estheticism  in  lighting." 

He  has  no  appreciation  for  environment,  knows 
naught  of  that  consistent  relationship  between  light 
and  color  which  is  the  essence  of  decoration — or 
atmosphere.  Such  individuals  are  responsible  for 
the  great  unrealized  possibilities  of  artificial  light, 
and  their  egotism  and  sublime  ignorance  of  all 
which  represents  education  in  the  broadest  sense, 
has  prohibited  co-operation  with  those  most  emi- 
nently qualified  by  nature  and  experience  to  help 
the  cause — the  decorator  and  architect. 


12  THE    LIGHTING    BOOK 

These  criticisms  do  not  apply  to  the  illuminant 
manufacturer  in  the  sense  of  belittling  his  economi- 
cal achievement  in  illuminant  improvement,  for  in 
the  tungsten  or  "Mazda"  lamp  of  to-day,  evolved 
by  ceaseless  experiments  from  Mr.  Edison's  first 
electric  lamp  of  over  thirty  years  ago  we  have  a 
luminous  medium  of  singular  flexibility  and 
economy. 

Similarly  the  pioneer  work  of  Dr.  Carl  Auer 
Von  Welsbach  has  given  to  the  world  an  incan- 
descent gas  mantle,  at  least  equaling  the  tungsten 
lamp  in  quantity  and  quality  of  light. 

This  question  of  quantity  and  quality  of  modern 
light  sources  is  of  grave  import.  Because  he  has 
succeeded  in  creating  an  illuminant  which  ap- 
proximates daylight,  and  assists  industrial  occupa- 
tions where  the  matching  of  color  fabrics  under 
artificial  light  is  desirable,  the  illuminant  manu- 
facturer is  laboring  under  the  delusion  that  his 
tungsten  or  "Mazda"  lamp,  with  its  white  light 
is  an  universal  panacea  for  all  lighting  ills,  and, 
from  his  rather  profuse  publicity,  we  are  asked  to 
believe  that  "all  these  economies  make  more  light, 
better  light,  the  light  universal." 

From  this  we  may  gather  that  only  the  indus- 
trial, utilitarian  and  commercial-economic  aspects 
have  received  recognition,  yet  nature  provides  rest- 


THE    MISUSE   OF   LIGHT         13 

fulness  which  comes  with  sundown.  In  the  light- 
ing of  the  home,  the  glare  of  continual  day  per- 
petuated at  night  by  glaring  artificial  illuminants 
is  unnatural — diametrically  opposed  to  nature's 
teachings — entirely  lacking  in  that  element  of  re- 
pose which  in  lighting  should  delicately  empha- 
size the  quiet  and  peace  of  eventide  in  the  home. 

Let  us  first  consider  the  physiological  aspect  of 
artificial  light,  and  determine  briefly  just  what  con- 
stitutes hygienic  lighting. 

Dr.  George  M.  Gould,  whose  knowledge  no 
physiologist  or  opthalmologist  dares  dispute,  in 
Volume  I,  of  his  "Biographi-Clinics"  in  the  chap- 
ter on  the  Physiology  of  Vision,  forcibly  denounces 
the  prevailing  use  of  high  brilliancy  illuminants, 
as  follows: 

"Another  corollary  of  the  law  of  ocular  tire  and 
resensitization  may  be  noticed  in  passing — a  law 
that  is  outraged  by  the  lighting  of  most  of  our 
churches  and  of  all  of  our  private  houses,  theaters, 
and  public  halls.  The  millions  of  dollars  spent 
each  year  in  illumination  are  in  great  part  wasted 
and  misspent,  and  by  the  methods  used  all  the  harm 
is  done  to  the  eye  that  is  possible.  No  room  should 
be  lit  in  such  a  way  that  the  individual  lights  are 
visible.  Illumination  should  be  by  transmitted, 
dissipated,  and  reflected  light/' 


14  THE    LIGHTING    BOOK 

No  matter  how  beautiful  an  interior  may  be,  or 
how  harmonious  its  decorative  ensemble,  if  glaring 
light  sources  blind  the  eyesight,  all  sense  of  com- 
fort or  repose  is  lacking,  and  pictorial  value  is  de- 
stroyed. Often  one  is  conscious  of  a  feeling  of 
disquietude  or  unrest,  even  in  esthetic  environ- 
ment. This  is  due  to  the  offensive  white  light  and 
overbrilliancy  of  modern  illuminants.  A  noted 
opthalmologist  writes : 

"American  oculists  have  so  many  patients  who 
even  with  the  best  spectacles,  cannot  escape  suffer- 
ing whenever  they  go  to  the  theatre,  opera,  etc., 
that  the  term  'theatre-headache'  or  'panorama- 
headache'  has  come  into  general  use.  As  much  as 
to  the  character  of  the  sermon  or  of  the  worshipper, 
the  famous  sleepiness  of  the  churchgoer  was  due 
to  the  somnolence  caused  by  ocular  fatigue  from 
harsh  lights  in  front.  One  of  the  most  common 
symptoms  of  eyestrain  known  to  all  oculists  is 
sleepiness  when  reading  by  artificial  light.  Part 
of  this  is  certainly  due  to  the  unphysiologic  systems 
and  qualities  of  the  light  used." 

One  of  the  necessary  requisites  for  ocular  com- 
fort is  that  the  brilliancy  of  a  light  source,  in  the 
visual  field,  should  be  restricted  within  certain 
limits.  Physiologists  agree  that  light  sources  hav- 
ing a  specific  brightness  of  from  4.  to  5.  candle- 


There  is  too  much  light  here  and  it  is  wrongly  placed.  The 
lights  hang  too  low  and  destroy  all  possible  artistic  expres- 
sion of  the  picture.  The  lights  against  the  wall  are  a  source 

of  glare. 


THE    MISUSE   OF   LIGHT         ig 

power  per  square  inch,  down  to  0.2  to  o.i  candle- 
power  per  square  inch  as  a  minimum,  are  safe 
working  standards  for  the  eye.  While  no  absolute 
rule  can  be  laid  down,  owing  to  individually  dif- 
ferent requirements,  there  is  one  positive  method 
of  determining  whether  or  not  the  source  of  light 
is  dangerously  bright.  If  it  can  be  regarded 
fixedly  without  ocular  discomfort,  squinting  or 
annoyance,  it  is  not  too  brilliant  from  the  physi- 
ological viewpoint.  Whether  it  is  a  source  of 
pleasure,  attraction  or  of  delight  to  the  eye,  is  a 
psychological,  esthetic  problem  which  we  will  dis- 
cuss later. 

Since  the  days  of  the  candle  the  source-bright- 
ness of  our  illuminants  has  steadily  increased.  It 
has  passed  the  danger  mark,  but  the  saturation 
point  is  not  yet  in  sight.  If  values  of  from  o.i  to 
5.  candlepower  per  square  inch  constitute  visually 
the  safe  range  of  source-brightness,  glance  at  the 
following  tabulation,  and  cease  to  marvel  at  the 
optician's  prosperity. 

(INTRINSIC  BRILLIANCY) 

SOURCE  OF  LIGHT  Candlepower 

per  square  inch. 

Candle    , . . . 3-       4 

Oil   lamp    3-        8 

Gas  flame   3-       8 

Carbon   filament  electric  lamp "    375-   400 

Welsbach   gas  mantle    20-      50 

Tungsten   lamp 1,000-1,500 


16  THE    LIGHTING    BOOK 

From  an  inspection  of  the  foregoing  it  is  ap- 
parent that  each  successive  development  of  elec- 
trical illuminants  has  been  attended  with  an  amaz- 
ing increase  in  source-brightness,  and  that  where  a 
value  of  5.  candlepower  per  square  inch  is  consid- 
ered the  maximum  limit  of  safety,  we  have  ex- 
ceeded that  limit  TWO  HUNDRED  TIMES! 

Do  not  confuse  this  "candlepower  of  source- 
brightness"  or  "intrinsic  brilliancy"  with  the  useful 
light,  or  "rated"  candlepower  of  the  illuminant 
itself,  since  the  first  is  purely  a  measure  of  source- 
brilliancy  expressed  comparatively  in  terms  of 
candlepower  per  square  inch  having  nothing  to  do 
with  the  useful  light.  It  is  merely  for  compara- 
tive purposes  that  the  reference  is  here  used. 

Of  course,  in  many  instances,  unfortunately  not 
the  majority,  the  eye  is  protected  from  the  dan- 
gerous brilliancy  of  the  tungsten  lamp  by  some  sort 
of  glassware  in  the  form  of  shades  which  should 
serve  the  double  function  of  eye  protection,  and  the 
re-distribution  of  light  over  areas  where  it  is  re- 
quired. 

The  fact  remains  unaltered,  however,  that  the 
lamp  manufacturer  in  his  publicity  has  in  no  way 
indicated  the  necessity  for  utilizing  his  product 
with  care,  and  his  undue  emphasis  on  its  economy 
and  durability  has  persuaded  its  adoption  in  count- 


THE    MISUSE   OF   LIGHT         17 

less  instances  where  it  has  been  ignorantly  sub- 
stituted for  older  types  of  less  brilliant  illuminants, 
and  located  directly  within  the  visual  field. 

A  word  of  warning  on  each  cardboard  box  in 
which  tungsten  lamps  are  sold  would  have  a  far 
reaching  effect.  Another  word  as  to  the  necessity 
for  keeping  lamps  free  from  dirt  would  be  equally 
appropriate  but  their  humanitarian  and  utilitarian 
considerations  have  been  stubbornly  ignored  by  the 
manufacturer.  Dr.  Ellice  Alger,  a  noted  opthal- 
mologist,  states: 

"The  general  engineering  expression  seems  to 
be  that  the  room  which  is  best  lighted  is  most 
lighted.  This  is  a  great  mistake.  Too  intense 
light  decomposes  the  visual  purple  in  the  retina 
faster  than  it  can  be  replaced,  and  leaves  a  condi- 
tion of  retinal  exhaustion.  Likewise  it  compels 
a  constant  extreme  muscular  contraction  of  the 
pupil  in  the  effort  to  exclude  the  light,  which  is 
both  fatiguing  and  painful.  Most  of  our  build- 
ings are  glaring  examples  of  extravagant  and 
visual  inefficient  lighting — extravagant  because  of 
the  waste  of  light,  and  inefficient  because  they  are 
not  even  comfortable  to  sit  in." 

Regarding  the  substitution  of  older  types  of  less 
glaring  illuminants  for  those  of  highest  intrinsic 
brilliancy,  for  attainment  of  their  unduly  adver- 


i8  THE   LIGHTING    BOOK 

tised  feature — "economy"  (in  abstract),  Dr.  Alger 
adds: 

"Among  the  East  Side  operatives,  thousands  and 
thousands  of  unfortunate  men  and  women  spend 
their  lives  in  making  the  fractional  part  of  coat, 
shirt-waist,  artificial  flowers,  and  willow  plumes, 
working  in  close,  badly,  ventilated,  badly  lighted 
rooms.  Presently  the  daily  headache  begins,  and 
a  little  later  their  mistakes  in  the  work  impose  a 
series  of  fines.  The  combination  of  physical 
misery  and  low  wages  imposed  by  bad  eyes  un- 
doubtedly predisposes  the  men  to  alcoholism,  dis- 
honesty and  crime,  and  makes  a  life  of  prostitu- 
tion seem  easy  and  attractive  to  the  girls." 

Whether  in  the  home,  the  office  or  the  factory, 
the  pernicious,  devastating  effect  of  these  over-bril- 
liant unmodified  light  sources  is  the  growing  cause 
of  much  untold  misery  and  suffering,  generally  at- 
tributed to  other  innocent  causes. 

The  human  eye  is  but  an  extended  portion  of 
the  brain,  according  to  the  most  eminent  anato- 
mists, and  as  such  must  be  treated  not  merely  as  an 
optical  adjunct,  but  as  a  vital  organ,  affecting  in 
some  serious  manner  every  other  organ  through 
abuse,  by  light  or  any  other  cause. 

Thus,  the  glaring,  unprotected  light  source, 
whether  it  be  the  tungsten  lamp  of  the  subway 


THE    MISUSE    OF    LIGHT         19 

train,  or  the  unshaded  light  of  the  home,  is  the 
unsuspected  cause  of  many  an  acute  headache, 
which  with  continued  exposure  will  become 
chronic.  Indigestion  and  nervous  despondency 
have  been  traced  to  this  cause.  The  commercial 
lighting  "engineer"  or  lamp  and  reflector  salesman 
may  sniff  contemptuously  at  this,  but  the  ophthal- 
mologist will  nod  gravely  in  acquiescence.  Eye- 
glasses will  correct — not  cure — astigmatism  due  to 
misshapen  eyeballs,  but  they  cannot  protect  the  eye 
from  blinding  injurious  light  sources,  or  glaring 
prism  shades. 

The  physiological  significance  of  color,  or 
quality  of  light  in  the  home,  brings  us  to  the  read- 
ing page.  A  great  deal  of  humanity's  ocular  dis- 
comfort has  come  from  endeavoring  to  decipher 
small  black  characters  against  a  white  page. 

In  the  days  of  earlier  illuminants  the  page  was, 
perhaps,  .insufficiently  lighted,  and  eyesight  was 
impaired  through  strained  perception.  Then 
came  the  oil  lamp  with  its  soft  mellow  radiance, 
which  has  yet  many  admirers  in  the  student  world. 
We  "see"  the  small  print  on  our  reading  page  by 
contrast — the  contrast  of  the  black  type  against  the 
white  background — but  the  total  area  occupied  by 
the  blank  white  paper  is  far  greater  than  the  total 
area  occupied  by  the  black  type.  In  other  words, 


20  THE    LIGHTING    BOOK 

the  white  paper  area,  which  serves  to  reflect  light 
(if  glazed)  or  diffuse  light  (if  rough)  from  a 
lamp  into  the  eye,  reflects  or  diffuses  more  than  is 
necessary  to  perceive  the  small  black  printed 
matter  by  contrast.  With  earlier  forms  of  electric 
illuminants  the  white  page  was  modified  and 
softened  by  the  amber  color  of  the  light  source 
itself,  and  against  this  soft,  mellow  background  the 
contrast  of  the  small  black  characters  was  less  ab- 
rupt, more  readily  perceptible,  and  less  tiring. 
With  the  tungsten  or  "Mazda"  lamp,  the  reading 
page  is  glaring  white,  reflecting  so  much  light  into 
the  eye  that  comfortable  perception  in  continued 
reading  is  impossible. 

Assuredly  we  desire  to  enjoy  the  economic  ad- 
vantages of  modern  illuminants,  but  by  all  means 
let  us  temper  this  economy  with  respect  to  our  eye- 
sight. With  the  same  required  quantity  of  amber 
and  white  light  on  two  reading  pages,  any  person 
will  be  able  to  read  longer  and  with  much  greater 
comfort  with  the  amber  light. 

This  is  an  absolute  statement  of  fact  and  will  be 
contested  only  by  those  who  fear  the  effect  of  such 
knowledge  in  directing  the  public  mind  along  lines 
of  investigation,  resulting  in  legal  measures  regu- 
lating the  publicity  and  sale  of  illuminants. 

Since  the  illuminant  manufacturer  and  his  sales- 


THE    MISUSE   OF   LIGHT         21 

man  the  "illuminating  engineer,"  will  not  recog- 
nize the  obvious  physiological  requirements  of 
artificial  light,  let  every  person  interested  in  con- 
servation of  vision  and  the  avoidance  of  eye  strain 
prescribe  his  own  remedy — for  the  procedure  is 
simplicity  personified. 

Granting  that  the  requirements  of  the  individual 
differ,  then  let  the  individual  recognize  his  re- 
quirements. 

There  is,  to-day,  a  material  termed  "gelatine 
film"  which  is  manufactured  in  sheets  about  two 
feet  square.  It  is  a  thin,  transparent  medium  em- 
ployed in  the  theater  for  the  protection  of  colored 
lights  and  the  attainment  of  realism  in  scenic  ef- 
fects. It  is  available  in  many  colors,  including 
amber,  and  is  fire  resisting.  It  may  be  cylin- 
drically  shaped  to  conform  with  the  various  sizes 
of  modern  light  sources,  and  held  in  place  by  ordi- 
nary paper  clips,  such  as  are  used  in  attaching 
office  correspondence.  It  may  be  obtained  from 
the  electrician  of  any  theater  for  a  few  cents. 

Just  one  experiment  will  convincingly  demon- 
strate its  ability  to  transform  harsh,  white  light 
into  the  soft,  agreeable  soothing  radiance  of  the  oil 
lamp. 

Hundreds  of  letters  have  been  received  from 
those  who  found  a  wonderful  relief  by  thus  modify- 


22  THE    LIGHTING    BOOK 

ing  the  white,  glaring  light  of  the  tungsten  or 
"Mazda"  lamp. 

While  a  fluid  preparation,  known  as  "lamp  col- 
oring" has  been  available  for  staining  lamp  bulbs, 
its  application  has  been  limited  to  exterior  sign  ef- 
fects. Moreover,  it  is  impossible  to  obtain  per- 
manency of  color  or  variation  of  color  density  with 
its  use,  and  the  operation  of  "dipping"  lamps  in 
coloring  solutions  is  fraught  with  many  uncer- 
tainties. 

The  standard  makers  of  incandescent  gas 
mantles,  recognizing  sometime  ago  that  a  white 
light  mantle  was  unsuited  for  home  lighting,  de- 
vised what  is  termed  an  "amber  light  mantle," 
which  is  most  pleasing  and  restful  to  the  eye.  Un- 
fortunately, the  manufacturers  of  tungsten  lights 
have  ignored  this  matter. 

Too  much  emphasis  canot  be  laid  on  this  ques- 
tion of  light  modification.  Great  physical  dis- 
comfort has  resulted  from  the  substitution  of  high 
intrinsic  brilliancy  of  light  sources  for  older  types 
of  illuminants  to  which  their  visual  functions  had 
become  accommodated.  Overstimulation  of  the 
retina  decomposes  the  visual  purple  much  more 
rapidly  than  it  can  be  restored,  and  the  result  is 
retinal  exhaustion  followed  by  its  attendant  de- 
pression of  other  organic  functions. 


An  inclosing  globe  of  decorative  opal  used  for  hall  lighting  with 
gas,   since  much   light  is   not  required. 


Ill 

LIGHT  AND  THE  MIND-PSYCHOLOGY 

"There's  nothing  good  or  bad  but  thinking  makes  it  so." 

ASIDE  from  physiological  considerations  there 
are  other  reasons  why  too  much  light  is  un- 
desirable in  the  home,  and  these  involve  psychol- 
ogy. Subconsciously  and  unconsciously  we  ex- 
perience many  sensations  which  are  directly  due 
to  psychological  precedent.  Unexpected  contact 
with  a  subtle  perfume,  a  certain  quaver  in  a  musi- 
cal theme,  and  instantly  our  mind  reverts  to  some 
incident  or  personality  of  long  ago,  revivifying  the 
past  with  startling  realism.  Through  the  inter- 
minable space  of  centuries  humanity  has  been 
trained  through  hereditary  psychological  prece- 
dent to  regard  light  as  a  symbol  of  warmth,  com- 
fort and  repose.  For  ages  the  comfort  of  the  open 
fire  has  impressed  on  the  subconscious  mind  the 
invariable  association  of  that  physical  comfort 
and  sense  of  warmth  with  the  amber  coloring  of 
the  dancing  flames.  Recall  the  pictorial  beauty 
of  the  setting  sun,  transfiguring  everything  with  its 

23 


24  THE    LIGHTING    BOOK 

golden  radiance  and  know  why  nature's  teaching 
has  endeared  to  humanity  that  soft  mellow  amber 
quality  of  light  which  imbues  even  the  environ- 
ment of  the  home  with  an  atmosphere  rich  in  tone, 
feeling  and  expression. 

No  woman  can  appear  to  advantage  beneath  the 
cold,  harsh,  white  light  of  modern  illuminants 
which  cruelly  reveal  every  wrinkle  and  emphasize 
every  facial  blemish.  Even  the  bloom  of  youth 
pales  under  the  brutal  glare  of  the  tungsten  lamp. 

The  photographs  facing  page  4  show  this.  Try 
the  experiment  yourself.  Holding  a  mirror  be- 
fore the  face,  illuminated  by  a  bare  tungsten  lamp, 
observe  the  uncomplimentary  effect.  Then  place 
a  piece  of  amber  film,  amber  tissue  paper,  or  an 
amber  globe  over  the  lamp  and  note  the  trans- 
formation. Wrinkles  and  facial  blemishes  fade 
away  like  magic.  In  interiors  lighted  with  a 
prevalence  of  amber  light  all  is  soft  and  reposeful 
and  each  and  every  one  looks  her  best. 

Schopenhauer  and  Herbert  Spencer  devoted 
most  exhaustive  research  to  determine  the  effect  of 
music  on  the  nerves ;  yet  the  influence  of  color,  par- 
ticularly on  the  overwrought  nervous  system,  is 
even  more  definitely  marked.  The  great  student 
of  chromotherapy,  Van  Bliervliet,  maintains  that 
those  senses  which  are  most  sensitive  to  color  ap- 


THE    PSYCHOLOGY   OF    LIGHT       25 

preciation,  directly  stimulate  intellectuality,  indi- 
cating that  those  individuals  possessing  superior 
intelligence  are  particularly  susceptible  to  the  sug- 
gestion of  color  or  music. 

Nervous  prostration,  lack  of  literary  inspiration, 
and  insomnia  may  be  relieved,  restored,  and  cured 
by  the  proper  treatment  of  light  and  color. 

To-day  the  lighting  of  the  office  is  harsh,  white 
and  cold.  Why  let  the  light  of  the  home  suggest 
to  the  mind  of  the  tired  business  man  working  con- 
ditions? 

This  subject  of  psychology  is  irrevocably  linked 
with  artificial  light,  particularly  in  the  home — 
which  is  the  theatre  of  life.  Once  a  dramatist, 
more  daring  than  his  fellows,  staged  a  play.  It 
dealt  with  the  psychology  of  light.  The  critics 
read  the  manuscript  and  predicted  failure.  As 
usual  the  public  decided.  It  was  a  wonderful  suc- 
cess. Night  after  night  thousands  sat  spellbound 
under  the  psychological  influence  of  light. 

The  following  abstract  from  one  of  the  scenes 
will  interest  all  in  whom  the  sense  of  imagination 
and  power  to  appreciate  logic  still  holds  sway. 

Vavin,  a  scientist,  is  discovered  with  Halcomb 
and  Dora — the  lovers  of  the  play.  Before  leaving 
them  alone  in  the  moonlight,  he  administers  gra- 
tuitously a  psychological  benediction: 


26  THE    LIGHTING    BOOK 

Vavin — Do  you  know  the  effect  of  color? 

Halcomb — Color  ? 

Vavin — You  have  heard  of  Nancy — in  France — the  town? 

Halcomb — Yes. 

Vavin — And  Dr.  Charcot? 

Halcomb — Yes. 

Vavin — He  was  my  friend.  We  made  together  many  experi- 
ments of  the  effect  of  color  upon  many  persons  under 
hypnotic  influence.  Invariably  under  yellow,  or  amber, 
the  subject  laughs;  under  green  he  is  content;  under  red 
he  is  stimulated ;  if  it  is  brown  he  is  in  fear ;  if  violet  he 
weeps;  under  blue  he  is — what  you  call  it — distrait? 

Dora — Perplexed  ? 

Vavin — Perplexed ! 

Halcomb — Don't  you  think,  Monsieur,  so  much  attention  to 
the  light  is  a  bit  theatrical? 

Vavin — Theatrical  ? 

Halcomb — Not  true  to  life. 

Vavin — Life?  Do  you  know,  Monsieur,  that  sixty  per  cent, 
of  the  causes  of  falling  in  love  are  in  the  moonlight — in 
life? — Do  you  know  the  harvest  moon? 

Halcomb — You  mean  the  full  moon  that  comes  at  harvest  time? 

Vavin  (nodding) — Do  you  know  its  peculiarity?  Generally 
the  full  moon  rises  nearly  an  hour  later  each  night. 

Halcomb— Well? 

Vavin — The  harvest  moon  at  the  full  comes  up  three  nights  al- 
most at  the  same  time.  Did  you  ever  think  of  that? — 
and  why  is  it,  do  you  suppose? 

Halcomb— Why? 

Vavin — That  harvesters,  men  and  women,  shall  fall  in  love 
with  each  other!  Oh,  it  is  a  droll  God,  Monsieur,  that 
plays  that  trick  for  one  hour  on  His  children.  Think  of 
it,  Monsieur,  a  harvest  moon  for  one  hour!  Is  that  of  the 
theatre?  No;  it  is  a  droll  God.  Now,  I  cannot  show 
you;  I  have  no  arrangement  to  get  the  blue  light,  which  is 
mystery,  and  the  green  light,  which  is  content,  and  which 


THE    PSYCHOLOGY   OF    LIGHT       27 

together  make  a  moonlight — when  two  people  come  to- 
gether, mystified  and  happy,  and  say  "Ah,  this  is  Fate — 
we  were  for  each  other  since  the  beginning." 

Do  not  laugh,  gentle  reader,  for  it  is  tragedy — 
not  comedy.  Here  in  our  midst,  at  our  very  door, 
yes,  even  within  our  home  is  a  marvelous  omni- 
potent agent,  willing  to  aid  us,  yet  fettered  by 
man's  stupidity  and  the  unyielding  shackles  of  a 
sordid,  misdirected  commercialism. 

And  so  it  is  that  the  color  of  an  interior,  as 
manifested  in  its  wall  tints,  influences  to  an  un- 
realized extent  the  minds  of  those  who  dwell 
therein — through  the  medium  of  reflected  light 
and  the  eye. 

Just  as  misshapen  eyeballs  produce  astigmatism, 
or  indistinct  vision,  so  the  retina  of  the  eye  varies 
as  to  color  perception. 

To  the  lighting  engineer  color  in  decoration  is 
of  interest  only  because  of  its  light  absorbing  or 
reflecting  qualities.  "Dark  colors  with  black  as  a 
limit,  absorb  more,  and  reflect  less  light  than 
lighter  colors,  approaching  white  as  an  extreme." 

But  this  sordid  economic  dogma  of  the  lighting 
engineer  represents  the  least  important  phase  of 
the  subject.  The  color  and  influence  of  this  re- 
flected light  from  colored  surfaces  on  human  be- 
ings is  infinitely  of  greater  import. 


2.8  THE   LIGHTING    BOOK 

About  one  out  of  every  seventeen  males  is  color 
blind,  and  at  least  one  out  of  every  twelve  color 
ignorant. 

The  color  of  an  object  depends  on  its  absorption 
of  certain  light  rays  and  its  reflection  or  diffusion 
of  others.  If  light  rays  are  absorbed  or  reflected 
by  a  surface,  the  surface  is  colored  and  opaque. 
If  some  light  is  transmitted  through  the  surface 
it  is  colored  but  transparent. 

Surfaces  which  transmit  or  reflect  all  colors  are 
white,  while  those  which  transmit  or  reflect  no 
color  are  black. 

The  innumerable  tints  in  natures  vast  color 
equipment  are  due  to  the  greater  or  less  reflection 
or  transmission  of  certain  light  rays.  Plants,  trees 
and  flowers  really  have  no  color  of  their  own,  the 
impression  on  the  retina  being  merely  a  case  of 
cause  and  effect,  resulting  in  our  attributing  colors 
to  natural  objects  which  are  not  existent,  being 
simply  the  result  of  changes  in  the  cerebral  cor- 
tex. 

To  the  man  who  wears  dark  green  glasses  all 
apparent  red  objects  appear  black  since  all  the  red 
rays  reflected  from  them  are  absorbed  by  the 
green  glasses.  In  the  same  way  the  blue  green 
light  of  the  mercury  tube  commonly  seen  in  most 
photographer's  windows,  causes  all  apparent  red 


THE    PSYCHOLOGY   OF    LIGHT       29 

objects  to  appear  black  to  the  eye,  since  the  red 
surface  can  only  reflect,  or  transmit  red  rays,  ab- 
sorbing the  blue  and  green.  Hence  the  ghastly  ap- 
pearance of  those  who  appear  beneath  such  lights 
since  every  vestige  of  color  (red)  in  the  features  is 
obliterated,  giving  place  to  dark  shadows.  The 
cheek  with  the  bloom  of  youth  becomes  sunken, 
and  ruby  lips  turn  black.  Conversely  red  or  pink 
lights  are  an  aid  to  beauty.  Globes  of  old  rose  tints 
over  offending  white  lights  counterfeit  natural 
complexion  tints  to  a  miraculous  degree. 

To  the  color  blind,  and  their  name  is  legion, 
black  appears  sometimes  green,  sometimes  crim- 
son, light  blue  appearing  as  dark  blue,  crimson  or 
black,  while  green  is  confused  with  black  or 
brown,  and  crimson  with  blue.  They  see  no  dif- 
ference between  a  laurel  leaf  and  a  stick  of  red 
sealing-wax,  and  of  all  the  glorious  tints  of  the 
rainbow  they  see  but  the  red  and  blue.  An  amus- 
ing anecdote  is  related  of  a  Quaker  who  was  color 
blind  and  attended  a  Quaker  meeting  clad  in  con- 
ventional drab  clothes,  but  with  brilliant  red  stock- 
ings! 

The  apparent  changes  which  light  rays  cause 
when  reflected  from  various  colored  surfaces  is 
naturally  of  interest  and  not  alone  from  a  psycho- 
logical viewpoint,  since  decoration  is  naught  but  a 


THE    LIGHTING    BOOK 


consistent  relationship  betwixt  light  and  color  at 
its  best. 

The  modifications  which  black  designs  undergo 
on  various  colored  backgrounds  are  in  many  in- 
stances startling,  and  these  are  a  few  which  may 
be  easily  verified  by  any  one  gifted  with  normal 
vision. 


Color  of  Back- 
ground 

Color  Change  in 
Black  Design 

Color  of  Back- 
ground 

Color  Change  in 
Black  Design 

Red    

Dark  Green 

Green            . 

Reddish  Gray 

Orange    

Bluish  Black 

Blue 

Orange-  Gray 

Yellow    

Black 

Violet 

Greenish  Yellow* 

Gray 

The  modifications  produced  by  colored  lights 
on  colored  fabrics  is  even  more  marked,  showing 
how  really  necessary  it  is  to  consider  light  as  a 
part  of  decoration,  in  preconceived  decorative 
schemes. 


Color  of  Ray 

Initial  Appearance 
of  Fabric 

Change  in  Appearance  of  Fabric 

Red    

Black 

Purple-Black 

Red    

White     

Red 

Red          

Red     

Redder 

Red                     

Redder 

Red 

Yellow 

Orange 

Red 

Red-Black 

Red                  

Light  Blue    

Violet 

Red    

Violet     ..    . 

Purple 

Black 

Maroon  or  Carmelite  Brown 

White 

Orange 

More  Vivid 

Red     

Scarlet 

Yellow    

Yellow-Orange 

Light  Green 

Yellow-Green 

Rusty  Green 

'Oranee    

Yellow-Green 

THE    PSYCHOLOGY   OF   LIGHT       31 


Color  of  Ray 

Initial  Appearance 
of  Fabric 

Change  in  Appearance  of  Fabric 

Orange    

Light  Blue   .  . 

Orange-Gray 

Orange    

Deep   Blue 

Gray-Slightly  Orange-Gray 

Orange    .  . 

Violet     

Red-Maroon 

Yellow     

Black    

Yellow-Olive 

Yellow     . 

White 

Light  Yellow 

Yellow     

Vellow    

Orange-  Yellow 

fellow     

Red     

Orange 

Yellow     
Yellow 

Orange     

Green 

Yellower 
Greenish  Yellow 

Yellow     

Light  Blue    

Yellow-Green 

Yellow 

Deep   Blue        .      .    . 

Green-Slate 

Yellow 

Orange-  Yellow 

Yellow    

Violet     

Yellow-Maroon 

Green    

Black      

Greenish  Brown 

White 

Green 

Green    

Red     

Brown 

Green    .  .          .... 

Orange     

Faint  Yellow-Slight  Green 

•Green 

Green 

Deeper  Green 

Green    

Indigo    

Dull  Green 

Green    

Violet     

Bluish  Green-Brown 

Blue       

Black 

Blue-Black 

Blue 

White 

Blue 

Blue     

Blue     

More  Vivid 

Blue             

Red     

Violet 

Blue 

Brown-Pale  Tint  of  Violet 

Blue     

Yellow    

Green 

Blue     

Green     ....            ... 

Indigo 

Blue 

Dark  Blue-Indigo 

Blue     

Violet     

Dark  Blue-  Violet 

Violet    

Black    

Faint  Violet-Black 

Violet        

White 

Violet 

Violet 

Violet 

Deeper  Violet 

Violet    

Red     

Red-Violet-Purple 

Violet    
Violet          

Orange     

Yellow 

Light  Red 
Brown-Slight  Red 

Violet 

Violet    

Blue     

Fine  Blue-  Violet 

Violet    . 

Deep  Blue-  Violet 

IV 
THE  MODIFICATION  OF  LIGHT 

"The  moon  is  up,  and  yet  it  is  not  night — " 

THE  modification  of  light  sources  for  the  at- 
tainment of  eye-comfort,  atmosphere  and  re- 
pose in  the  home  involves  among  other  considera- 
tions an  analysis  of  the  glassware  used  in  lighting. 
Whether  in  the  home  or  abroad,  the  over  brilliancy 
of  modern  illuminants  should  legally  necessitate 
their  concealment  within  shades  for  the  purpose  of 
eye  protection  and,  where  necessary,  for  the  redis- 
tribution of  light  over  working  areas.  Since  our 
visual  impressions  are  invariably  acquired  from 
surface  indications,  it  is  evident  that  the  effects  and 
influence  of  artificial  light  are  very  largely  de- 
pendent on  its  shade  or  covering.  Therefore  the 
source  of  light  should  invariably  be  concealed  in 
appropriate  glassware,  which  when  it  becomes  a 
secondary  source,  shall  exercise  its  functions  of 
eliminating  glare,  giving  a  useful  distribution  of 
light,  and  in  appearance  becoming  literally  a  part 
of  its  decorative  environment. 

32 


Comparison   booths    showing   the  action   of   shades   which 

do  not  entirely  inclose  lamps.     1  and  2.     Ordinary  white 

opal    glass ;    3.    Glass    which    transmits    and    reflects ;    4    and 

6.     Sheffield  design;   5.     Dense   opal  of  proper  shape. 

See  page  47 


The  various  types  of  inclosing  shades  contrasted. 
1.  Welsbach  reflex  in  ground  glass;  2.  Dense  opal  globe: 
3.  Common  prismatic  glass  shade;  4.  Reflex  lamp  opal 
shade;  5.  Same  type  glass  as  one  over  tungsten  lamp: 
6.  Undesirable  ground  glass  shade. 

See  page  53 


The   old   iron   fixtures   of   German    Gothic   design 

are    properly    matched    with    the    lantern    shade: 

how  unsatisfactory  is  the  cheap,  inefficient,  modern 

shade  in  contrast. 


MODIFICATION    OF   LIGHT      33 

Never  introduce  in  the  environment  of  the  home 
those  shades  or  globes  which  suggest  the  ugly,  com- 
monplace, ribbed  affairs  of  the  shop  interior.  Re- 
member, the  eye  cannot  refrain  from  straying  to- 
ward a  source  of  light  and  let  that  source  be 
mellow,  subdued,  and  artistic. 

Several  years  ago,  when  electric  illuminants  were 
less  economical  than  now,  the  glassware  manufac- 
turer did  his  best  to  make  shades  which  would  re- 
flect, re-direct,  and  concentrate  every  ray  of  light 
over  a  working  area,  unknowingly  sacrificing 
every  consideration  of  appearance,  beauty,  or  ef- 
fect, for  economic  efficiency.  To-day,  however, 
owing  to  the  wonderful  economy  of  illuminants 
and  to  the  increased  use  of  gas  and  electric  light 
in  thousands  of  homes,  the  progressive  glass  maker 
must  shape  his  product  for  grace  as  well  as  utility. 
Artificial  light  is  now  so  cheap  in  cost  that  the 
great  problem  of  the  hour  is  to  prevent  its  becom- 
ing cheap  in  appearance — and  to  this  end  the 
makers  of  lighting  glassware  must  come  to  the  res- 
cue. Some  of  them  have,  but  others  still  continue 
to  unload  an  ugly  product  which  has  become  com- 
monplace and  undesirable,  ignoring  all  the  won- 
derful possibilities  of  the  chemistry  of  glass  for 
the  time-worn,  futile  argument  of  economy. 

The  more   progressive  glassmakers  who   have 


34  THE    LIGHTING    BOOK 

done  things  worth  while,  have  erred,  perhaps,  in 
that  their  product  is  not  always  so  attractive  when 
illuminated  as  it  is  by  daylight.  This  is  because 
certain  forms  of  glassware  for  lighting  are  adapted 
to  modern  illuminants,  and  others  are  not. 

While  "transparency"  is  the  most  common  at- 
tribute of  glass,  there  are  kinds  which  are  but 
slightly  transparent,  even  opaque. 

After  the  fire-clay  pots,  in  which  a  mixture  of 
sand,  carbonate  of  soda,  carbonate  of  calcium,  and 
red  oxide  of  lead  have  been  heated  and  maintained 
at  a  melting  temperature,  the  furnace  is  cooled, 
and  the  glass,  at  various  stages  of  cooling,  may  be 
blown,  cast,  pressed,  rolled,  drawn,  cut,  drilled, 
/  ground,  and  shaped  in  many  forms.  Acid  etch- 
ings, and  blasting  and  grinding,  have  various  ef- 
fects in  bringing  out  the  body  color  and  lending 
texture  or  softness  of  tone,  and  these  various  ap- 
plications modify  the  appearance  of  glassware,  and 
have  much  to  do  with  its  artistic  effect,  and  its 
transparency,  which  should  be  carefully  consid- 
ered— and  avoided. 

In  many  interiors  with  average  ceiling  heights, 
lighting  fixtures  are  hung  so  that  the  pendant,  or 
upright  shades  are  continually  within  the  visual 
field.  In  such  cases  glassware  must  be  selected  to 
perform  several  functions.  Ocular  comfort  de- 


MODIFICATION    OF   LIGHT      35 

mands  that  these  globes  shall  be  restful  and  unin- 
jurious  to  the  eye,  since  the  brilliancy  of  the  light 
source  within  them  must  be  subdued  by  their  dif- 
fusive action. 

Globes  of  harmonious  contour  and  with  that 
proportion  of  line,  expressive  of  period  and  fix- 
ture design,  should  be  selected.  It  matters  not 
how  beautiful  a  globe  may  be,  when  not  illumi- 
nated, if  when  lighted  an  ugly,  glaring  splotch  of 
light  reveals  the  location  of  the  source,  and  de- 
stroys its  pictorial  value. 

Globes  and  shades  may  be  of  totally  enclosing 
or  semi-enclosing  form.  The  former  entirely  en- 
close a  light  source,  or  else  expose  but  a  small 
portion  of  the  lamp  tip.  In  globes  of  such  form, 
light  from  the  illuminant  within  is  transmitted 
through  the  structure  of  the  glass,  and  the  pleas- 
ing appearance  of  such  globes  and  their  diffusive 
properties  is  entirely  dependent  upon  the  nature 
of  the  glass  and  its  surface  treatment. 

In  a  totally  enclosing  globe  of  ordinary  clear 
glass,  the  outer  surface  of  which  has  been  ground 
or  etched  with  acid,  there  is  apparent  a  brilliant 
spot  of  light  in  the  midst  of  an  illuminated  area 
of  less  intensity. 

The  microscope  and  camera  combined  were 
utilized  by  the  writer  in  studying  the  phenomenon 


THE    LIGHTING    BOOK 


of  light  transmission  in  various  media  and  with 
ground  glass  it  was  noticed  that  the  effect  produced 
was  to  allow  light  rays  to  pass  through  the  glass 
without  changing  their  direction. 

It  is  well  in  this  connection  to  realize  that  with 
either  an  electric  bulb  or  incandescent  gas  mantle, 
the  greatest  candle  power  is  obtained  from  the 


THE  LIGHT  FROM  A  TUNGSTEN  OR  LAMP  is  MAINLY 
DISTRIBUTED  ALONG  THE  HORIZONTAL 

side  of  the  lamp,  the  greatest  radiating  surface  be- 
ing there.  Naturally  from  the  tip  or  base,  where 
the  radiating  surface  is  less  and  there  is  much  im- 
pediment to  light  rays  in  the  form  of  metal  sockets 
or  burners,  the  light  is  weakened.  .Gas  or  electric 
lights  are  therefore  rated  by  their  horizontal,  or 
side  candle  power.  Hence  the  electric  lamp 
which  gives  sixteen  candle  power  on  the  hori- 
zontal, is  rated  as  a  sixteen  candle  power  lamp, 
despite  the  fact  that  the  candle  power  from  the 


MODIFICATION    OF   LIGHT      37 

tip  downward  (when  the  lamp  is  in  a  pendant 
position)  is  but  6.6.  The  bright  spot  light,  tells 
us  beyond  dispute  that  the  greatest  candle  power 
is  on  the  horizontal  and  nowhere  else. 

The  diagram  below  (marked  B)  shows  the  dis- 
tribution of  light  about  a  bare  sixteen  candlepower 


THE  MODIFICATION  IN  THE  DIRECTION  OF  LIGHT 
MADE  BY  FROSTING  THE  BULB.  B,  CLEAR  GLASS; 
A,  GROUND  GLASS 

lamp.  The  effect  of  "frosting"  or  roughening  the 
outer  surface  of  the  glass  bulb  is  indicated  by  A, 
the  effect  of  this  treatment  being  to  give  more 
light  in  directions  where  there  was  less  before. 
Thus,  where  the  greatest  light  obtained  from  the 
bare  bulb  is  on  the  horizontal,  the  effect  of  "frost- 
ing" is  to  decrease  the  light  in  that  direction.  But, 
on  the  other  hand,  where  previously  there  was  less 
light — from  the  tip  of  the  lamp  below,  and  the 


THE    LIGHTING    BOOK 


socket  above — "frosting"  increases  quite  appreci- 
ably the  useful  light  in  these  directions. 

In  the  same  manner,  the  diagram  (page  36)  il- 
lustrates the  distribution  of  light  about  a  tungsten 
or  "mazda"  lamp.  With  gas  lamps  there  is  a 
greater  amount  of  light  directly  below  the  lamp, 


THE  LIGHT  DISTRIBUTION  FROM  AN  UPRIGHT  GAS  MANTLE  CLOSELY 
RESEMBLES  THAT  OF  THE  TUNGSTEN  LAMP.  THE  INVERTED  MANTLE 
BESIDE  THROWS  MOST  OF  THE  LIGHT  BELOW 

owing  to  the  greater  light-radiating  surface  there. 
Thus,  in  the  diagram  above  the  characteristic  dis- 
tribution of  light  about  a  bare  Welsbach  inverted 
incandescent  gas  mantle  is  shown.  The  figure  be- 
side it  shows  the  striking  similarity  in  distribu- 
tion between  an  upright  Welsbach  gas  mantle  and 
that  of  the  tungsten  lamp. 

The  photograph  facing  page  5  showrs  an 
arrangement  of  a  series  of  compartments  for 
comparing  various  illuminants  and  their  acces- 
sories. The  intensity  of  light  beneath  each  lamp 
is  revealed  by  the  brightness  of  the  cards,  num- 


MODIFICATION    OF    LIGHT      39 

bered  respectively  and  consecutively  from  i  to  6 
for  purposes  of  identification  and  comparative 
reference. 

No.  i  of  this  photograph  is  a  Welsbach  reflex 
lamp.  Over  the  inverted  mantle  is  a  globe  of 
Verre  Krasna  glass,  the  very  finest  form  of  im- 
ported opal,  manufactured  in  Austria.  The  per- 
fect diffusion  of  this  glassware  is  apparent.  No. 
4  is  another  Welsbach  reflex  lamp  within  a  globe 
of  ground  glass.  This  glaring  effect,  and  the 
higher  intensity  of  light  on  card  No.  i  is  well 
marked.  No.  2  is  a  40  watt  tungsten  lamp  within 
an  opal  globe  similar  to  No.  i.  No.  3  is  a  40 
watt  tungsten  lamp  within  a  globe  formed  to  rep- 
resent an  old  Gothic  lantern  with  imitation  leaded 
glass  panels.  Unfortunately  the  glass  used  is  sur- 
faced roughed — as  is  manifest  by  the  characteristic 
glare  and  non-modification  of  light  direction. 
The  fact  that  ground  glass  does  not  appreciably 
change  the  distribution  of  light  about  a  lamp  is 
forcibly  demonstrated  by  comparing  No.  3  and 
No.  6  where  lamps  of  the  same  size  are  placed 
respectively  in  ground  glass  and  behind  a  paper 
transparency.  Card  No.  3  is  little  brighter  than 
card  No.  6.  No.  5  illustrates  how  dense  opal 
glassware  assists  in  reducing  glare  and  expressing 
admirably  the  character  of  the  globe.  Beautiful 


4Q  THE    LIGHTING    BOOK 

designs  in  has  relief  are  wonderfully  effective  in 
such  glass  when  not  over  lighted. 

One-  need  have  no  fear  as  to  the  placement  of 
such  globes  or  their  effect  on  visual  functions. 
Even  on  lighting  fixtures  hung  so  low  that  their 
globes  are  constantly  in  the  visual  field — dense  opal 
glassware  will  work  wonders  in  correcting  such 
injurious  conditions. 

Nor  do  not  feel  that  light  is  wasted  in  using 
dense  globes  which  decrease  source  brilliancy  and 
modify  it  as  to  color.  The  one  thing  which  the 
illuminant  manufacturer  has  done  satisfactorily, 
is  the  production  of  illuminants  which  are  eco- 
nomical, but  it  remains  for  the  user  to  make  them 
visually  safe  and  adaptable  to  aesthetic  and  indi- 
vidual requirements. 

It  is  interesting  to  note  that  the  globe  which 
really  meets  aesthetic  requirements — can  never  be 
productive  of  glare,  since  the  glaring  splotch  of 
light  so  offensively  distortive  of  detail  is  a  vul- 
garity irrevocably  opposed  to  artistic  expression 
in  any  form.  Judge  globes,  therefore,  relatively, 
as  a  part  of  your  decorative  ensemble,  and  you  will 
find  the  globe  which  satisfies  the  aesthetic  is  quite 
likely  to  meet  physiological  requirements. 


The    higher    the   pedestal    the    wider    the    area    of 

useful   reading  light  with   a   portable   lamp.     The 

art  glass  shade,  however,  must  be  low  enough  to 

leave  the  eyes  in  shadow. 


An  illustration  of  the  eyebrow's  function  in  pro- 
tecting the  eye.     A  higher  pedestal  would  greatly 
improve  this  lamp. 


V 
SEEING  BY  LIGHT  TRANSMITTED 

"He  that  is  stricken  blind  cannot  forget, 
The  precious  treasure  of  his  eyesight  lost." 

IN  rooms  with  very  high  ceilings,  glowing  lights 
are  not  so  annoying,  being  generally  so  high 
that  they  are  not  directly  before  the  eyes. 

This  condition  offers  no  excuse  for  the  use  of 
ground  glass,  since  the  angle  at  which  large  pic- 
tures hang  from  a  wall  is  such  that  the  side  light 
from  bare  lamps  or  lamps  enclosed  in  ground  glass 
globes  strikes  these  picture  surfaces  and  is  reflected 
downward  and  across  the  room,  generally  at  such 
angles  (in  wide  rooms)  as  to  cause  intense  ocular 
discomfort  to  those  seated  facing  such  pictures. 
This  physiologically  bad  effect  is  even  more  ob- 
jectionable from  an  aesthetic  viewpoint,  assuming 
that  the  artist's  work  to  be  appreciated  and  give 
pleasure,  must  be  seen. 

A  case  of  too  much  light  in  the  wrong  place  is 
shown  facing  page  14.  Even  with  the  light  so  high 
as  to  be  out  of  the  visual  field  of  those  seated,  its 

41 


42  THE    LIGHTING    BOOK 

influence  reaches  the  eye  by  reflected  light.  Be- 
neath the  shelf  is  seen  a  row  of  four  globes.  These 
were  not  lighted  when  the  photograph  was  taken 
for  the  excellent  reason  •  that  their  glare  would 
have  obscured  everything  else  on  the  plate. 
Later  we  will  discuss  the  desirability  of  the  side 
wall  as  a  locale  for  lights  but  in  passing  let  me 
emphasize  the  importance  of  keeping  them  sub- 
dued— their  function  being  purely  as  an  aid  to 
decorative  and  architectural  expression — not  a 
hindrance.  With  Mazda-tungsten  lamps  and 
ground  glass  the  side  wall  light  becomes  an  abso- 
lute annoyance  to  the  eye.  Dense  opal  globes  will 
correct  this,  and  if  carefully  selected  will  harmo- 
nize perfectly  with  decorative  environment.  Let 
me  repeat  that  globes  of  ground  glass  or  acid 
etched  glass  are  never  attractive  when  lighted. 
Since  a  source  of  light,  fundamentally,  must  be  soft, 
restful,  and  agreeable  to  the  eye,  there  is  no  ex- 
cuse for  wasting  money  in  purchasing  globes  which 
if  attractive  by  day,  become  glaring  splotches  of 
light  at  night  with  all  their  beautiful  designs  ob- 
literated in  a  vulgar  splotch  of  brightness.  Op- 
posite page  15  is  shown  the  daytime  appearance  of 
one  of  these  ground  glass  globes  with  a  cut  glass 
design — which  becomes  obliterated  at  night. 

Dense,  opal  globes   (enclosing)   can  be  used  to 


LIGHT   TRANSMITTED  43 

better  advantage  with  inverted  gas  mantles  than 
with  ordinary  tungsten  lamps.  This  is  because  the 
reflex  inverted  gas  lamps  give  much  more  light 
downward  from  the  mantle  tip  than  is  obtained 
from  the  tip  of  the  small  sized  tungsten  lamp  which 
could  be  compared  with  the  inverted  gas  mantle 
on  an  economic  basis. 

A  word  as  to  the  possible  applications  of  these 
enclosing  globes  of  opal  glass  in  the  home.  In  liv- 
ing-rooms where  one  center  ceiling  fixture  is  sup- 
posed to  give  general  illumination,  dense  opal  I 
globes  of  suitable  design  are  appropriate — particu- 
larly in  instances  where  fixture  changes  are  incon- 
venient. Doing  away  with  all  fixtures  and  placing 
unsightly  prismatic  glassware  close  to  the  ceiling 
is  well  enough  for  the  barroom  but  not  in  the  home 
where  environment  means  so  much,  and  exerts 
so  great  an  influence  by  the  psychological  force 
of  associated  ideas  on  the  morals  of  the  young. 

Irrespective  of  their  shape,  enclosing  globes 
illuminate  by  transmitted  light.  In  choosing 
them,  remember  that  with  round  opal  globes  the 
diffusive  action  of  the  suspended  particles  of  opal 
within  the  structure  of  the  glass  causes  an  even 
spherical-like  distribution  of  light  with  about  as 
much  light  transmitted  above,  toward  the  ceiling, 
as  below  in  the  lower  part  of  the  room.  With 


44  THE    LIGHTING    BOOK 

fixtures  hung  low  this  transmitted  light  above  the 
globe  is  of  little  value  unless  ceilings  are  absolutely 
dead  white,  and  even  then  there  is  not  enough  of 
it  left  to  be  of  appreciable  value  after  at  least 
three  reflections  which  must  take  place  from  ceiling 
and  side  walls  before  reaching  the  lower  part  of 
the  room. 

With  fixtures  close  to  the  ceiling,  the  use  of  en- 
closing opal  glassware,  while  meeting  physiologi- 
cal requirements,  gives  an  effect  of  a  bright  circle 
of  light  on  the  ceiling  directly  above  the  fixture, 
less  noticeable  with  darker  tinted  ceilings. 

In  the  majority  of  instances  where  lighting  re- 
forms are  needed,  low  hung  fixtures  are  the  rule 
not  the  exception.  Such  cases  may  be  satisfactorily 
corrected  by  using  opal  glass,  which  gives  excel- 
lent effect  for  general  illumination  if  dense  amber 
globes  are  used. 

Bathrooms  are  usually  decorated  in  light  tones, 
affording  a  good  opportunity  for  the  application 
of  enclosed  globes  on  either  side  of  mirrors. 

The  illustration  shows  a  case  where  dense  white 
opal  globes  on  either  side  of  a  mirror  will  reveal 
with  brutal  frankness  things  as  they  are — not  as 
they  seem.  Here  is  an  instance  where  the  pene- 
trating qualities  of  white  light  serve  admirably  in 
the  various  operations  of  preparing  the  toilette  and 


LIGHT   TRANSMITTED  45 

in  degree  of  efficiency  which  is  not  possible  with 
light  from  one  side  only  (facing  page  22) . 

The  position  of  the  lamps  beside  the  bathroom 
mirror  would  be  suitable  with  inverted  or  up- 
right tungsten  lamps,  or  upright  Welsbach  gas 
mantles,  because  they  give  the  greatest  light  side- 
ways. The  position  of  the  fixtures  would  not  be 
desirable  for  inverted  Welsbach  gas  lamps,  be- 
cause of  the  greater  amount  of  light  directly  be- 
low the  mantle  tip — which  would  be  for  the  most 
part  wasted  in  this  instance. 

The  other  photograph  facing  page  22  shows  this 
point;  the  fixture  is  placed  so  that  the  downward 
candlepower  of  the  inverted  reflex  mantle,  which 
is  greater  than  the  downward  candlepower  of  the 
tungsten  lamp,  brightly  illuminates  the  features  of 
a  person  standing  before  the  mirror,  and  at  the 
same  time  gives  an  agreeable  general  illumination 
sufficient  for  the  purpose  of  the  interior — a  bed- 
room. With  remote  control — a  pneumatic  button 
placed  conveniently  near  the  bed — this  fixture 
would  answer  quite  acceptably  all  utilitarian  re- 
quirements. 

In  halls  where  a  tremendous  burst  of  light  is 
undesirable,  enclosing  globes  may  be  used  effec- 
tively. Opposite  page  23  is  such  an  arrangement. 
Here  again  the  question  of  light  utilization  must 


46  THE   LIGHTING    BOOK 

be  considered.  With  a  tungsten  lamp  the  greatest 
light  would  be  transmitted  through  the  globe  side- 
ways with  comparatively  little  useful  light  directly 
below.  In  other  words,  other  than  enclosed  glass- 
ware as  shown  here  gives  better  results  with  in- 
verted gas  mantles  than  with  upright  gas  or  elec- 
tric lamps. 

Little  difficulty  will  be  experienced  in  determin- 
ing where  enclosed  globes  should  be  used  if  the 
distribution  of  light  about  the  lamp  in  question 
receives  due  consideration.  Study  the  effect  of 
the  interior,  and  note  if  the  horizontal  light  from 
the  side  of  the  lamps  causes  objectionable  glare, 
or  gives  an  uneven  distributive  effect.  Always 
remember  that  when  lamps  are  hung  low,  directly 
within  the  visual  field,  dense  opal  enclosing  glass- 
ware must  be  used  unless  the  entire  lighting  system 
is  to  be  changed.  A  source  of  light  should  be  a 
source  of  pleasure  and  comfort  to  the  eye. 


Comparison  of  various  reflectors  with  tungsten  lamps  of  the 

same   size.     1.     Opal   shade;  2.     Smooth  aluminum  reflector; 

3.      Reflector    of    pure    silver;    4.      Cone    of    blotting    paper; 

5.     Bare  lamp;  6.     Flat  mirror  plate  above  lamp. 


Comparison  of  their  reflecting  surfaces  with  tungsten  and 
Welsbach  lamps.  1.  Welsbach  inverted  mantle  opal  shade; 
2.  Blotting  paper;  3.  Tungsten  lamp  in  pure  silver  re- 
flector; 4.  Aluminum  reflector  over  inverted  gas  mantle; 
5.  Ordinary  nev^spaper;  6.  A  mirror  plate. 

See  page  67 


VI 
SHADING  AND  REDIRECTING  LIGHT 

"He  saw; — but  blasted  with  excessive  light, 
Closed  his  eyes  in  endless  night." 

UP  to  the  present  we  have  restricted  our  con- 
sideration to  totally  enclosing  globes,  which 
modify  by  reducing  source  brilliancy,  and  through 
the  diffusive  action  of  the  glass  itself  in  transmit- 
ting light.  In  the  upper  illustration  facing  page 
32  comparison  booths  are  shown  with  tungsten 
lamps  all  of  the  same  size  with  various  shades 
which  do  not  entirely  enclose  the  lamp,  but  are 
cone  shaped.  Card  No.  2  is  receiving  less  light 
than  the  others  due  to  the  flat  shade  which  does  not 
intercept  and  redirect  the  greatest  light  from  the 
bare  lamp  which  is  in  the  direction  A-A.  Card  No. 
i  is  brighter  than  No.  2 — since  the  shade  of  No.  i 
hangs  lower  on  the  lamp  thereby  intercepting  and 
redirecting  more  light  below.  These  shades  in 
No.  i  and  No.  2  are  of  the  ordinary  commercial 
type — white  opal  glass.  They  are  used  here,  be- 
cause many  glassmakers  ignoran'tly  advocate  flat 

47 


THE    LIGHTING    BOOK 


shades  for  use  in  the  home,  where  their  use  should 
be  prohibited  by  law  because  they  accentuate  the 
glare  of  tungsten  lamps.  Furthermore  it  is  evi- 
dent from  a  glance  at  No.  i  and  No.  2  that  these 
flat  shades  are  not  even  utilitarian — in  that  they  fail 
to  redistribute  light  where  it  is  required. 

No.  3  shows  how  a  shade  transmits  as  well  as  re- 
flects light.  The  greatest  light  from  the  lamp  is  in 
the  direction  A-A  and  strikes  the  inside  surface 
of  the  shades.  Two  things  happen :  first  some  of 
the  light  is  transmitted  through — its  quantity  de- 
pending on  the  thickness  of  the  glass  and  its  absorp- 
tion; second,  some  of  the  light  is  redirected  down- 
ward by  the  inner  surface. 

When  light  rays  strike  the  surface  of  a  reflector 
or  anything  else,  their  direction  is  changed  de- 
pending upon  the  angle  at  which  they  impinge 
upon  such  surface.  If  the  surface  is  polished  they 
will  be  sharply  reflected,  with  glare.  The  effect 
of  the  interior  of  polished  surface  shades  is  as 
bad  for  the  eye  as  the  glare  of  an  automobile  head- 
light. Of  course  shades  are  not  hung  so  their 
inner  surfaces  are  staring  one  in  the  face,  but  never- 
theless the  polished  surfaces  of  tables,  and  papers 
reveal  their  obnoxious  images  with  mirror-like 
fidelity. 

Now  when  light  strikes  a  rough  or  depolished 


REDIRECTING    LIGHT 


49 


surface  it  is  diffused,  the  rays  being  broken  up  or 
scattered,  and  there  is  no  glare — Whenever  shades 
are  open,  exposing  the  lamp  tip — the  inner  shade- 
surface  must  be  depolished,  and  a  frosted  tip  lamp 
used. 
All  glass  makers  can  furnish  shades  with  de- 


CHANGE  IN  THE  DISTRIBUTION  OF  LIGHT  EFFECTED  BY 
THE  USE  OF  DIFFERENT  REFLECTORS  WITH  POL- 
ISHED INNER  SURFACES  WHICH  PRODUCE  GLARE 

polished  inner  surfaces,  and  every  purchaser  who 
has  the  least  respect  for  his  eyesight  will  insist 
upon  it.  We  have  noted  the  necessity  for  plac- 
ing the  light  source  well  within  the  redirecting 
surface  of  the  shade,  both  for  physiological  and 
utilitarian  reasons,  now  let  us  study  the  change  in 
distribution  of  light  effected  by  changing  the 
shape  of  the  redirecting  surface. 


THE    LIGHTING    BOOK 


The  diagram  on  page  49  shows  two  shades  with 
inner  polished  surfaces  over  a  light  source  (X)  — 
the  action  of  these  polished  surfaces  in  redirecting 
light  by  reflection  is  shown  by  the  dotted  lines 
(M)  representing  any  ray  of  light  emitted  by  the 
square  X.  With  shades  having  sides  more  nearly 


CHANGE  IN  THE  DISTRIBUTION  OF  LIGHT  EFFECTED  BY 
DEPOLISHING  THE  INNER  SURFACES  OF  THE  RE- 
FLECTORS SHOWN.  THE  RESULT  is  DIFFUSED 
LIGHT  WITHOUT  GLARE 

parallel  (A)  the  light  rays  cross,  giving  a  wider 
distribution  than  in  (B)  owing  to  the  greater  in- 
clination of  the  shade's  sides  which  redirect  the 
light  in  a  concentrating  manner  directly  below  the 
shade.  The  change  in  distribution  of  light  caused 
by  depolishing  the  inner  surfaces  of  these  shades 
is  shown  on  this  page.  The  amount  of  light  which 
a  shade  should  transmit  above,  toward  the  ceil- 


REDIRECTING    LIGHT 


ing,  and  diffuse  below  toward  the  floor,  depends 
upon  the  conditions  under  which  it  is  used. 

No.  3,  already  referred  to  (page  32),  a  shade  of 
an  opal  glass,  characterized  by  innumerable  spots. 
flakes  and  blotches  within  the  structure  of  the  glass 
—  transmits  almost  as  much  light  above  as  it  reflects 
below.  With  such  an  equal  utilization  of  light 
above  and  below  the  horizontal  there  is  little  to 
recommend  such  a  shade  in  preference  to  an  en- 
closing globe  or  ball  of  opal  which  gives  the  same 
equal  distribution  above  and  below,  with  the  ad- 
vantage over  the  cone  shaped  shade  of  hiding  the 
glaring  tungsten  lamp  entirely  from  view.  In  No. 
5,  the  bright  card  tells  a  different  story.  This 
shade  is  made  of  dense  opal  glass  which  transmits 
only  20  per  cent,  of  the  lamp's  light,  above.  A 
dead  white,  shell-like  inner  surface  diffuses  80  per 
cent,  of  the  total  light  of  the  lamp  below  the  shade. 
Glassware  of  this  type  can  be  obtained  in  soft 
amber  tones  when  lighted,  and  a  grayish  white  by 
day.  This  is  desirable  since  the  shade  takes  on,  by 
the  diffusive  properties  of  daylight,  a  modified 
color  effect  dependent  upon  and  harmonious  with 
the  color  motif  of  the  wall  decoration.  Nos.  4  and 
6  illustrate  commercial  shades  of  white  opal  glass- 
ware done  in  the  conventional  tedious  "Sheffield" 


52  THE    LIGHTING    BOOK 

design  which  has  in  a  measure  become  as  unde- 
sirable through  common  use  as  the  ugly  ribbed 
prism  shades  which  are  so  commonplace  and  sug- 
gestive of  the  shop. 

Opal  glass,  unlike  prismatic,  has  no  stereotyped 
malformations  on  its  outer  surface,  and  an  infinite 
variety  of  designs  may  be  executed  thereon  in  de- 
cisive has  relief  effects  which  give  character  and 
expression  to  an  interior. 

As  a  race  we  Americans  are  if  anything  progres- 
sive, and  progressiveness  and  originality  should  go 
hand  in  hand.  We  do  not  ape  our  neighbors  in  the 
decorating  of  our  homes,  striving  instead  for  some- 
thing different — something  expressive  of  character 
and  refinement.  We  would  never  introduce  the 
vulgar  and  typical  ornamentation  of  the  barroom 
in  our  homes,  yet  unthinkingly  we  use  ugly  glass- 
ware which  is  just  as  typical  of  such  undesirable 
environment.  Hence,  aside  from  the  vital  ques- 
tion of  glare,  the  first  fundamental  esthetic  consid- 
eration is  to  select  glassware  which  is  not  like  the 
prismatic  shades  of  the  store,  office  and  shop  win- 
dow. Look  about  you,  and  when  you  have  noted 
the  type  of  glassware  which  is  most  commonplace 
in  your  locality,  insist  upon  having  something  abso- 
lutely different  for  your  home.  The  chances  are 
one  hundred  to  one  in  favor  of  your  getting  some- 


Along  the  ceiling  of  this  bay  window  lights  were  placed  in 
silvered  reflectors.  They  shine  through  a  lattice  skylight 
of  diffusing  glass  panels.  With  properly  colored  glass 
when  viewed  from  within  the  effect  is  of  sunset  glow. 
This  picture  is  taken  from  the  veranda  outside. 


REDIRECTING    LIGHT  53 

thing  really  artistic  if  you  but  follow  this  simple 
rule. 

Once  more,  we  have  a  new  array  of  shades  in  our 
comparison  booth  awaiting  our  inspection.  First 
let  us  compare  No.  i  and  No.  3  in  the  lower  illus- 
tration facing  page  32.  No.  i  is  a  ground  glass 
globe  over  a  Welsbach  reflex  inverted  gas  mantle. 
I  have  mentioned  before  the  fact  that  an  inverted 
gas  mantle  gives  more  light  downward  from  the 
mantle  tip  than  a  tungsten  lamp  and  this  we  see  is 
true  in  comparing  No.  i  with  No.  3 — an  ordinary 
prismatic  shade  over  a  60  watt  tungsten  lamp. 
Prism  glass  allows  at  least  30  per  cent,  of  the  use- 
ful light  to  pass  through  the  glass  upwards — when 
clean — and  reflects  about  70  per  cent,  below  from 
its  polished  inner  surface.  The  prisms  on  the  outer 
surface  of  the  glass  assist  in  this  reflection  to  some 
extent — when  clean —  but  not  to  the  degree  claimed 
by  manufacturers.  As  a  matter  of  fact  the  pol- 
ished inner  surface  of  the  glass  itself  reflects  at 
least  30  per  cent,  of  the  light  which  never  enters 
the  prisms. 

Prismatic  reflectors  should  never  be  placed 
within  the  visual  field,  unless  interiorly  depol- 
ished  by  acid  treatment.  In  emphasizing  this 
statement  Dr.  Percy  W.  Cobb,  physiologist  for  a 
group  of  local  tungsten  lamp  makers,  states:  "In 


54  THE    LIGHTING    BOOK 

the  case  of  prismatic  reflectors  it  is  only  when  they 
are  so  far  away  that  the  eye  is  unable  to  distinguish 
their  individual  surfaces,  and  the  media  of  the  eye 
can  themselves  perform  the  necessary  diffusion, 
that  there  is  any  reduction  in  intrinsic  brilliancy 
significant  for  the  protection  of  the  eye." 

Owing  to  the  ugliness  of  prism  glassware,  and 
the  fact  that  it  has  become  commonplace  it  should 
never  be  used  in  any  home  where  motives  of  re- 
finement hold  sway.  Realizing  in  a  measure  how 
obnoxious  a  set  product  can  become  through  vul- 
gar usage,  manufacturers  of  this  glass  have  at- 
tempted to  overcome  these  objections  by  changing 
the  shape  and  form  of  prisms  and  globes.  These 
efforts  have  been  unsuccessful  for  the  very  good 
reason  that  the  prisms  are  so  regular,  unvarying 
and  monotonous  in  appearance  that  they  mar  the 
surface  of  glassware  just  as  smallpox  pittings  ruin 
the  fairest  complexion.  If  shades  are  to  have  any 
exterior  markings  these  must  be  in  the  form  of 
greatly  varied  ornamentation,  not  an  unvarying 
series  of  bumps  and  hollows. 

In  the  comparison  booth  just  referred  to,  No.  2  is 
a  fairly  dense  opal  globe  which  compares  equally 
with  the  prism  shade  in  No.  3  so  far  as  distribution 
of  light  is  concerned.  The  difference  in  downward 
light  between  inverted  gas  mantles  and  tungsten 


REDIRECTING    LIGHT 


lamps  is  seen  by  comparing  No.  i  and  No.  5  where 
glass  of  the  same  type  as  No.  i  is  placed  over  a  60 
watt  tungsten  lamp  —  the  difference  on  the  cards  be- 
ing well  marked.  No.  6  is  merely  a  "shade"  in 
name  only,  being  an  ordinary  piece  of  ground 
glass  having  absolutely  no  inner  surface  light  re- 
directing properties.  Let  me  place  myself  on  rec- 
ord here  and  now  in  stating  that  I  believe  shades 
of  the  type  described  in  this  chapter  have  outlived 
as  it  were  their  usefulness.  Even  with  depolished 
inner  surfaces  the  tremendous  brilliancy  of  the 
tungsten  lamps,  and  the  increase  in  brilliancy 
which  must  inevitably  attend  further  illuminant 
improvements,  will  necessitate  the  use  of  totally 
enclosing  glassware  of  an  attractive  character  such 
as  to  differentiate  and  give  dignity.  Lamps  will 
be  placed  within  soft  toned  beautiful  glassware 
eliminating  glare,  and  every  useful  ray  of  light 
will  be  utilized  by  enclosed  lamps  in  opaque  re- 
flectors which  will  redirect  every  ray  of  light  in 
a  manner  suitable  from  physiological,  utilitarian, 
and  aesthetic  requirements. 


VII 
LIGHT  ON  THE  PATH 

"Shine  by  the  side  of  every  path  we  tread, 
With  such  a  lustre  he  who  runs  may  read." 


f"T^HOSE  partially  enclosing  shades,  of  the 
-*•  commonplace,  ugly  commercial  type  —  the 
kind  which  must  never  be  placed  where  they  can 
be  seen  in  the  home  —  have  certain  useful  applica- 
tions where  their  ugliness  is  concealed  from  view. 
In  order  to  appreciate  just  how  incongruous 
shades  of  commonplace  design  are  amid  decora- 
tive environment,  consider  the  interior  rich  in  the 
period  of  medieval  German  Gothic  architecture 
opposite  page  33.  These  old  iron  fixtures  thor- 
oughly in  harmony  with  their  surroundings,  and 
of  individual  pictorial  value,  are  marred  by  the 
crude  commercial  glassware,  which  is  almost  as 
commonplace  and  obnoxious  as  prismatic  glass. 
This  shade,  though  it  directs  some  useful  light 
downward,  allows  enough  transmitted  light  up- 
ward through  the  shade  to  give  a  requisite  degree 
of  shadow  contrast  in  revealing  the  admirable 

56 


LIGHT   ON   THE    PATH  5-7 

grotesque  above.  The  desirability,  therefore,  is 
apparent  of  relating  these  qualities  beneath  a  more 
attractive  exterior,  and  this  was  accomplished  by 
placing  the  form  of  a  Gothic  lantern  over  a 
smaller  shade  of  opal  glass  snugly  ensconced 
within,  attaining  thereby  an  economic  utilization 
of  light  together  with  a  perfect  realization  of 
esthetic  requirements. 

There  are  other  applications  where  unattractive 
commonplace  shades  may  be  concealed,  and  simi- 
larly utilized  with  excellent  results. 

Portable  reading  lamps  as  they  are  usually  man- 
ufactured and  sold,  while  offering  a  wide  variety 
of  pleasing  pedestal  designs  and  beautiful  effects 
in  leaded  art  glass,  have  a  most  inefficient  arrange- 
ment of  lamps  whereby  a  great  amount  of  useful 
light  is  wantonly  wasted — light  which  costs  money 
and  which  is  recorded  on  the  meter  whether  or 
not  it  is  utilized  efficiently.  The  inner  surfaces 
of  these  art  glass  domes  generally  consist  of  the 
unfinished  side  of  the  glass  particles  forming  the 
design  or  pattern,  and  of  too  dark  and  non-uniform 
a  nature  to  serve  as  a  good  reflecting  surface. 
Hence,  only  the  light  from  the  side  of  the  lamp 
exposed  to  the  table  top  is  effective,  all  the  light 
from  the  upper  side,  within  the  art  shade,  serving 
merely  to  illuminate  the  art  glass  without  contrib- 


THE    LIGHTING    BOOK 


uting  one  bit  of  light  on  the  reading  page.  Port- 
able lamps  with  clusters  of  three  or  five  lamps, 
throw  a  spot  of  light  directly  below  the  lamps,  not 
covering  a  sufficiently  wide  area  to  meet  the  read- 
ing requirements  of  several  persons  seated  around 
the  table. 


A  SCHEME  TO  MAKE  THE  PORTA- 
BLE LAMP  GIVE  BETTER  LIGHT 


The  accompanying  diagram  shows  how  to  make 
your  portable  give  better  light  at  a  lower  cost. 
Have  a  pull  chain  socket  placed  in  an  upright 
position  as  indicated.  If  the  art  glass  dome  is 
supported  by  a  center  rod,  a  simple  wire  shade 
holder,  similar  to  those  used  on  oil  lamps,  con- 
ceded  within  the  dome,  will  permit  a  dense  opal 
shade  depolished  inside,  to  be  placed  atop  the 
lamp,  as  indicated.  It  is  unnecessary  to  have  this 


LIGHT   ON    THE    PATH  59 

small  shade  supported,  and  it  may  rest  on  top  of 
the  lamp  tip.  The  shade  must  be  deep  enough  to 
come  down  and  cover  the  light-giving  wires,  or 
filament  of  the  lamp,  else  it  cannot  perform  its 
function  of  redirecting  light.  The  lamp  and  its 
shade  must  be  well  covered  by  the  art  glass  dome. 
There  have  been  some  lamps  like  this  offered  for 
sale,  but  the  mistake  was  made  of  using  an  inner 
shade  of  prismatic  glass,  producing  glare  and  caus- 
ing intense  ocular  discomfort  to  those  seated 
within  range.  In  selecting  shades  for  such  ap- 
plications insist  upon  having  amber  opal,  depol- 
ished  on  the  inside. 

In  buying  portable  reading  lamps  always  re- 
member that  the  higher  the  pedestal  is,  the  wider 
will  be  the  area  of  useful  reading  light.  A  short 
squatty  lamp,  even  with  a  shade  applied  as  de- 
scribed, will  necessarily  have  its  redirected  light 
confined  within  a  narrow  circular  area  below  the 
lamp — not  wide  enough  in  range  to  enable  more 
than  one  to  read  with  comfort  at  a  table  so  lighted. 
A  cut  shows  how  the  rim  of  the  art  glass  dome 
cuts  the  redirected  light  so  as  to  leave  the  face  of 
the  reader  in  shadow,  directing  the  light  where 
it  is  most  needed — on  the  reading  page  not  on  the 
eye.  (Upper  picture  facing  page  40.) 

In  earlier  chapters  I  have  spoken  of  the  func- 


6o  THE   LIGHTING   BOOK 

tions  of  the  eyebrow  in  protecting  the  eye.  An 
excellent  illustration  of  this  is  seen  facing  page 
40  and  it  also  shows  a  lamp  which  would  be 
greatly  improved  by  a  higher  pedestal. 

Oftentimes  a  shade  which  is  purely  a  shade,  in 
the  implied  sense  of  shading,  or  protecting  the  eye, 
can  be  a  re-director  of  light  as  well,  if  properly 
modified.  For  example,  the  glassware  shown  fac- 
ing page  41  can  be  obtained  in  two  forms,  one 
rough  and  untreated  on  the  inside,  the  other  with  an 
inner  layer  of  white  opal  glass.  The  former  has 
no  re-directive  power  owing  to  the  negligible 
quality  of  its  dark,  non  uniform  inner  surface, 
while  the  latter  with  its  dead  white  inner  surface, 
redirects  a  higher  percentage  of  the  light  which 
strikes  it.  Here  again  we  have  a  striking  compar- 
ison between  modern  gas  and  electric  illuminants. 
Assuming  that  both  globes  are  without  white  in- 
ner surfaces,  and  that  the  one  on  the  left  "E"  is 
a  tungsten  lamp,  and  the  one  on  the  right  "G"  an 
inverted  Welsbach  reflex  lamp.  The  tungsten 
lamp  would  be  at  a  disadvantage  since  the  great- 
est light  (on  the  side)  would  pass  through  the 
glass  in  the  direction  "S"  without  being  re-di- 
rected. The  light  from  the  tip  "D"  is  of  no 
greater  value  than  if  the  lamp  was  without  a  shade. 
But  with  the  inverted  gas  mantle  "G"  a  much 


Examples    of    the    best    types    of    modern    glassware.      De- 
signs   such    as    this    are    worked    in    amber    colored    glass, 
and  appear  in  a  variety  of  designs,   some  worked  in   the 
glass  and  some  in  has  relief. 


LIGHT   ON   THE    PATH  61 

greater  light  is  given  from  the  tip  downward  (D) 
with  proportionately  less  passing  through  the  glass 
in  the  horizontal  direction  G.S.  With  a  white 
opal  inner  surface  the  side  light  from  the  tungsten 
would  be  redirected  as  indicated  by  the  broken 
line  "Sn2,  and  would  then  be  more  nearly  com- 
parable to  the  Welsbach  lamp  from  an  economic 
viewpoint.  On  the  other  hand,  the  inverted  glass 
mantle  within  a  white  opal  interior  would  also 
have  its  useful  downward  light  greatly  augmented 
— the  difference  still  being  in  its  favor  over  the 
tungsten. 

There  is  one  other  use  to  which  these  shades 
may  be  put,  general  enough  to  deserve  special 
mention.  Decorators  will  tell  you  that  the  din- 
ing-room dome  is  atrocious,  that  it  should  never 
be  used.  Nevertheless,  this  is  more  a  question  of 
individual  taste  than  dogmatic  prejudice.  Thou- 
sands who  live  in  apartments  must  meet  existing 
conditions,  and  I  am  willing  to  predict  that  it 
will  be  many  years  before  the  dome  becomes  ex- 
tinct as  a  light  giving  source  above  the  dining 
table.  Those  who  have  them,  naturally,  would 
like  to  know  How  to  make  the  best  of  them.  The 
diagram  shows  a  dome  placed  at  the  correct  height 
above  the  table.  The  average  dome,  like  the 
average  portable  lamp,  is  fitted  with  a  junk-like 


62 


THE    LIGHTING    BOOK 


cluster  of  lamps  most  inefficient  and  un-economi- 
cal.  An  opal  shade — depolished  inside — placed 
well  up  within  the  neck  of  the  dome  gives  the  best 
redirection  of  light  and  conceals  the  mechanism 


SEE    THAT   THE    DlNING   ROOM    DOME    LlGHT   IS 

PLACED  AT  A  PROPER  HEIGHT.    THE  LAMPS 
SHOULD  BE  OUT  OF  THE  LINE  OF  VISION 

of  the  thing  entirely  from  view.  Many  a  case  of 
indigestion  has  resulted  from  constant  nightly  ex- 
posure of  overstrained  eyes  and  nerves  to  the  in- 
sidious glare  of  exposed  lights  above  the  dining 
table. 

The  effect  of  such  an  arrangement,  which  is 


LIGHT   ON    THE    PATH  63 

decidedly  effective,  appears  opposite  page  46. 
This  particular  dome  is  lighted  with  gas,  the  chain 
being  hollow.  From  a  point  near  the  door  a  pneu- 
matic button  enables  one  to  turn  the  light  on  and 
off  with  equal  facility.  The  brightness  of  the 
ceiling  is  caused  chiefly  By  the  light  diffused  up- 
wards from  the  white  table  cloth.  To  find  to  one's 
own  satisfaction  how  much  light  is  really  redi- 
rected in  this  manner,  place  the  table  cloth  over 
the  table  and  seat  yourself  facing  some  one  oppo- 
site ;  at  a  given  word  whip  the  cloth  from  the  table 
watching  the  features  of  your  "vis-a-vis"  intently 
the  while.  You  will  think  momentarily  that  the 
lights  were  lowered  almost  to  the  point  of  ex- 
tinction. 


VIII 
MAKING  THE  MOST  OF  LIGHT 

"Walk  while  ye  have  the  light  lest  darkness  come  upon  you." 

WE  have  considered  the  action  of  enclosing, 
and  partially  enclosing  globes  in  modify- 
ing the  effect  of  light  sources.  Perhaps  it  has  oc- 
curred to  the  reader  that  in  general  effect  these 
various  types  of  globes  and  shades,  all  more  or  less 
resemble  the  same  thing — a  spot  light  dangling 
from  or  supported  upon  those  obstructions  to  our 
view,  which  in  moments  of  pleasantry  we  term 
"lighting  fixtures."  The  lighting  of  the  future  will 
be  distinctive  if  anything,  and  to-day  those  who 
have  any  other  interest  in  lighting,  save  the  sale  of 
stale  and  inadequate  equipment,  are  striving  to  in- 
dicate ways  and  means  of  expressing  character, 
individuality,  and  attraction  in  lighting,  with  a 
reasonable  and  sane  degree  of  economy. 

It  is  quite  natural  and  desirable  that  the  light 
emitted  by  our  modern  illuminants  should  be 
utilized  economically,  but  this  must  be  accom- 
plished with  due  regard  for  the  effect  and  appear- 


MAKING   MOST   OF   LIGHT      65 

ance  of  such  utilization.  One  of  the  most  humor- 
ous incidents  in  the  chain  of  grotesque  accidents, 
which  have  marred  rather  than  marked  the  path 
of  lighting  progress,  was  the  extravagant  claim 
of  prism  shade  makers  that  their  different  shaped 
shades  (withal  so  much  alike  that  Milton's  lines: 
"that  other  shape,  if  shape  it  might  be  called  that 
shape  had  none"  best  describes  the  result)  were  an 
infallible  panacea  for  all  lighting  ills. 

When  lights  are  absolutely  concealed  from  view, 
in  creating  most  beautiful  and  individual  effects, 
differing  entirely  from  each  other,  under  these 
conditions  of  concealment  the  appearance  of  the 
light  redirecting  accessory  is  not  important,  be- 
cause it  is  hidden  from  view.  What  we  are  most 
concerned  with  then,  is  its  ability  to  redirect  every 
ray  of  light  from  a  lamp,  so  thakthe  desired  effect 
will  be  obtained  in  a  manner  both  economical  and 
efficient.  Redirecting  surfaces  which  accomplish 
this  purpose  are  called  reflectors  and  do  not  trans- 
mit light,  being  opaque — their  inner  surfaces  re- 
flecting light  in  proportion  to  their  reflecting 
power.  By  turning  to  page  47  (upper  picture) 
we  will  find  our  familiar  comparison  booths  re- 
plenished with  a  new  assortment  of  glassware — 
not  shades  or  globes  this  time,  but  reflectors,  await- 
ing our  inspection. 


66  THE    LIGHTING    BOOK 

No.  5,  is  a  bare  100  watt  tungsten  lamp.  The 
brightness  on  the  upper  part  of  the  curtains  shows 
clearly  that  the  greatest  light  is  in  that  direction 
and  not  downward  from  the  tip  of  the  lamp,  as 
is  proved  by  the  dark  card.  In  No.  6,  a  flat  mirror 
plate  is  placed  over  the  lamp,  which  accomplishes 
nothing  whatever  in  redirecting  the  horizontal 
light  downward,  which  is  plainly  evidenced  by  the 
fact  that  card  No.  6  is  as  dark  as  card  No.  5.  This 
rudely  shatters  the  delusion  so  fondly  cherished  by 
merchants  who  cover  the  ceilings  of  their  show 
windows  with  mirrors,  in  the  belief  that  great  light 
is  thereby  reflected  downwards.  Card  No.  4 
shows  the  result  of  placing  a  cone  shaped  reflector 
of  ordinary  blotting  paper  over  a  lamp  of  the  same 
size  as  that  in  No.  5  and  No.  6.  In  No.  3  is  a 
reflector  formed  by  depositing  a  layer  of  pure 
metallic  silver  over  a  thin  form  of  glass.  Silver 
is  the  best  reflecting  surface  known,  and  even 
while  the  light  has  to  pass  through  the  glass  be- 
fore touching  the  silver,  and  then  back  again 
through  the  glass,  with  two  resultant  absorptions 
the  effect  of  this  wonderful  redirective  surface  is 
forcibly  indicated  by  trie  brightness  on  card  No.  3. 
Reflectors  of  this  type — pure  metallic  silver  on  the 
back  of  glass — must  not  be  confounded  with  the 
cheap  inferior  "quicksilver"  reflectors,  which  are 


A   corner   of   a   room   where   standard   indirect    equipment   is 

used.      The    reflectors    throw    the    light    upon   the    ceiling    from 

whence  it  is  diffused  evenly  about  the  whole  room. 


MAKING    MOST   OF   LIGHT      67 

being  promoted  by  unscrupulous  manufacturers. 
These  consist  of  an  ordinary  quicksilver  ^backing" 
covered  with  a  coat  of  enamel.  The  heat  of  the 
lamp,  expansion  of  the  glass,  and  its  contraction, 
disintegrate  the  quicksilver  and  crack  its  enamel 
backing — which  cannot  be  baked  on.  Pure  me- 
tallic silver  on  the  back  of  glass  is  elastic  and  does 
not  crack,  expanding  and  contracting  pliantly 
Tvdth  the  variations  of  the  glass  itself.  Owing  to 
the  series  of  bright  streaks,  or  lines  of  light  in  the 
light-giving  element  of  the  tungsten  lamp,  bright 
reflecting  surfaces  multiply  images  of  these  lines, 
mirror  like,  and  project  them  downward  upon 
working  surfaces  where  (if  the  reflector  is  not 
perfectly  stationary  above)  a  series  of  fluctuations 
most  conducive  to  eye  strain  occur. 

Reverting  to  the  illustrated  booths,  page  47,  No. 
2  is  an  aluminum  reflector,  giving  a  streaked  ef- 
fect owing  to  its  perfectly  smooth  inner  surface. 
No.  i  is  an  opal  shade  such  as  previously  de- 
•scribed.  It  is  shown  here  to  illustrate  the  fallacy 
of  using  glassware  which  allows  light  to  pass 
through  and  above  in  applications  which  require 
all  the  light  below. 

Now  glance  at  page  47  (lower  cut)  and  behold 
our  comparison  booth  re-equipped  for  the  last 
^time.  No.  6  shows  the  mirror  plate  again,  with 


68  THE    LIGHTING    BOOK 

its  non-redirective  effect  as  evidenced  by  the  dark 
card  below. 

No.  5  is  an  ordinary  newspaper  hanging  about 
the  lamp,  and  redirecting  some  light  below  on  the 
card — at  the  same  time  protecting  the  eye.  No.  4 
is  the  aluminum  reflector  over  a  Welsbach  reflex 
inverted  gas  mantle,  compared  with  a  100  watt 
Mazda  tungsten  lamp  No.  3 — in  a  pure  silver  re- 
flector. Compare  No.  4  with  No.  2  (Fig.  i)  and 
note  the  absence  of  streaks.  This  is  due  to  the  uni- 
form luminosity  of  the  gas  mantle,  which  is 
free  from  the  bright  lines  of  intrinsic  brilliancy 
characteristic  of  the  Mazda  tungsten  lamp.  No. 
2  (Fig.  2)  is  the  same  blotting  paper  shade  (No. 
4,  Fig.  i)  and  No.  i  is  a  Welsbach  reflex  inverted 
gas  mantle  within  a  thin  globe  of  imported  Aus- 
trian opal  glass.  The  relatively  greater  down- 
ward light  from  the  gas  mantle  over  the  tungsten 
lamp  is  particularly  emphasized  here,  since  even 
with  the  powerful  silver  reflecting  surfaces  over  the 
latter  there  is  not  the  tremendous  difference  which 
one  might  expect,  and  with  the  aluminium  re- 
flector No.  4  over  the  inverted  mantle  the  contribu- 
tion of  its  side  light  to  that  of  the  downward 
(mantle  tip)  light  at  least  equals  the  effect  in  No.  3. 

We  have  now  reached  a  stage  when  it  is  possi- 
ble to  apply  these  elementary  (but  comparatively 


MAKING    MOST   OF   LIGHT      69 

unknown)  facts  to  applications  where  the  cause 
being  known  the  effect  can  be  more  readily  ap- 
preciated. 


IX 
INDIRECT  LIGHTING 

"In  Nature's  way,  the  Moon,  at  night, 
Shines,  indirect  by  borrowed  light." 

OPAQUE  reflectors  which  utilize  by  reflec- 
tion all  the  useful  light  generated  by  a  gas 
or  electric  lamp,  were,  up  to  a  few  years  ago,  used 
mostly  for  display  windows  and  industrial  light- 
ing— in  those  rare  instances  when  anything  but 
bare  lamps  was  deemed  necessary  for  protecting 
the  eye,  or  utilizing  light. 

With  the  efficiency  of  modern  gas  and  electric 
illuminants  they  afford  a  means  of  improving 
many  lighting  conditions  which  through  the  fix- 
ture manufacturers'  ignorance,  or  neglect  of  mod- 
ern requirements,  are  most  unsatisfactory. 

Every  one  has  noticed  lighting  fixtures  with  bare 
lamps  placed  therein,  causing  glare  and  ruining 
the  pictorial  effect.  Many  a  hall  lantern  is  so 
glaring  that  one  turns  away  with  eyes  painfully 
smarting.  This  represents  money  wasted,  and  can- 
not be  termed  artistic  in  any  sense  of  the  word. 

7o 


INDIRECT   LIGHTING  71 

The  diagrams  show  how  lamps  are  usually  placed 
in  lantern  fixtures,  and  illustrate  the  remedy,  con- 
sisting of  an  efficient  opaque  reflector  placed  high 
up  within  the  lantern,  and  covering  the  lamp  so 
that  all  its  useful  light  strikes  the  reflecting  sur- 
face and  is  redirected  downward  through  the  glass 


THE  PROPER  POSITION  OF  LAMPS  IN  LANTERN 
FIXTURES  is  IN  THE  UPPER  PART  OUT  OF  SIGHT. 
AVOID  SUCH  ARRANGEMENTS  AS  THE  RIGHT 
HAND  ONE 


panels.  This  is  an  instance  where  ground  glass 
might  properly  be  used  for  lantern  panels,  since 
the  lamp  is  far  enough  distant  to  avoid  the  sugges- 
tion of  any  bright  spot,  and  the  redirection  of  light 
downward  by  the  reflectors'  surface  would  be  un- 
changed in  passing  through  the  ground  glass,  for 
reasons  which  have  been  explained. 

There  is  a  growing  sentiment  on  the  part  of  dis- 
criminating   persons    to    obtain    individuality    in 
their  lighting,  and  this  can  only  be  accomplished 


72  THE    LIGHTING    BOOK 

by  reconciling  both  decorative  and  lighting  ar- 
rangements. 

Shown  opposite  page  52  is  such  an  effort  on  the 
part  of  one  who  would  rather  lead  than  follow 
stupidly  in  the  beaten  path.  The  result  was  ~ob- 
tained  by  placing  opaque  silver  reflectors  above 
a  daylight  skylight  fitted  with  diffusing  glass  pan- 
els, spacing  the  reflectors  uniformly  so  as  to  obtain 
a  uniform  luminosity  of  skylight  surface,  and 
hanging  them  high  enough  to  avoid  any  sugges- 
tion of  bright  spots  from  below. 

With  the  economy  of  modern  illuminants  there 
is  no  limit  to  the  novel  and  pleasing  effects  in 
lighting  which  may  be  cheaply  installed  and  eco- 
nomically maintained.  By  dropping  white  can- 
vas curtains  before  windows,  and  reflecting  light 
against  the  diffusing  white  surface  of  the  cloth,  an 
interior  may  be  most  agreeably  lighted. 

In  the  case  of  bay  windows  the  curtain  must  be 
arranged  in  semi-cylindrical  form,  at  least  three 
feet  distant  from  the  glass.  This  requires  a  pro- 
jecting and  protecting  ledge,  which  ofttimes  may 
be  perfectly  concealed  beneath  architectural  for- 
mations. The  system  is  particularly  applicable 
to  bungalows  with  continuous  veranda  forma- 
tions, the  veranda  roof  affording  an  excellent  po- 
sition for  the  concealment  of  the  lamps  and  re- 


The    table    portable    produces    a    homelike    effect    by    leaving 

the  walls  in  part  shadow.     This  is  an  example  of  a  good  type 

of  lamp,  high  pedestal  and  simple  glassware. 


The  objection  to  the  opaque  bodies  often  used  in  indirect 
lighting  is  overcome  here.  This  is  an  indirect  unit  with  a 
small  additional  light  used  simply  to  illuminate  the  art  glass 

bowl. 


INDIRECT   LIGHTING  73 

flectors.  By  covering  the  reflectors  with  gelatine 
film  beautiful  effects  may  be  obtained.  In  this 
way  a  room  may  be  suffused  with  the  mellow  radi- 
ance of  sunset,  or  the  soft  glow  of  twilight  by  the 
turn  of  a  switch.  It  is  effects  like  these  which 
make  of  artificial  light  something  more  than  a 
necessary  evil,  something  which  contributes  gen- 
erously to  the  comfort  and  happiness  of  those 
whose  desire  for  better  working  and  living  condi- 
tions, inspiring  them  to  work  out  their  own  indi- 
vidual requirements  on  a  broad  progressive  basis. 

Several  years  ago,  an  enterprising  individual,  in 
fact  a  pioneer  in  the  lighting  field,  conceived  the 
idea  of  concealing  the  source  of  light  from  view, 
and  by  the  use  of  enclosing  reflectors,  to  redirect 
every  ray  of  light  from  the  source  against  the  ceil- 
ing, thereby  obtaining  a  secondary  redirecting  sur- 
face of  wide  expanse,  obviously  much  greater  than 
the  comparatively  small  area  of  a  reflector,  which 
barely  encloses  a  source  of  light. 

Without  going  into  the  uninteresting  and  tedi- 
ous technicalities  it  is  a  positive  fact  that  so  far  as 
quality  of  light  is  concerned,  indirect  lighting  is 
just  as  economical  as  direct.  It  has  been  urged 
by  nervous  competitors — manufacturers  of  stereo- 
typed direct  lighting  equipment — that  "regardless 
of  their  high  efficiency  in  reflecting  light,  these 


74  THE    LIGHTING    BOOK 

pure  silver-coated  reflectors  gather  dirt,  being  in 
an  inverted  position."  With  proper  maintenance 
— easily  and  quickly  given — this  criticism  is  speci- 
ous. Thousands  of  dollars  are  spent  annually  in 
washing  windows  to  let  natural  light  in  but  a  very 
small  amount  is  expended  in  cleansing  globes  and 
shades  to  let  artificial  light  out. 

Globes  and  shades  are  never  cleaned,  because 
lamp  manufacturers  have  never  been  considerate 
enough  of  the  consumer's  satisfaction  to  print  a 
simple  inscription  on  their  lamps'  cartons  explain- 
ing that  dirty  lamps  give  at  least  20  per  cent,  less 
light.  Indirect  lighting  reflectors  give  good  sat- 
isfaction, if  only  cleaned  once  a  month  and  then  a 
dry  rag  will  do  the  trick.  The  necessary  thing  is 
to  have  reflecting  surfaces  which  will  not  depre- 
ciate from  the  heat  of  lamps,  and  crack  or  grow 
discolored,  as  quicksilver  backed  reflectors  invar- 
iably do  after  a  comparatively  short  use. 

For  the  lighting  of  the  home,  single  reflectors 
with  100  watt  tungsten  lamps,  or  upright  Wels- 
bach  gas  mantles  give  pleasing  effects  in  interiors 
of  average  size.  In  larger  rooms  reflectors  are 
grouped  in  clusters  and  concealed  within  artistic 
exterior  molds,  harmonizing  with  the  decorative 
treatment. 

To  my  mind  the  best  feature  about  this  new 


INDIRECT   LIGHTING  75 

method  of  utilizing  artificial  light,  aside  from  the 
blessed  relief  from  eye  strain  which  it  gives,  is  its 
versatility  of  expression.  It  matters  not  that  the 
reflectors  which  direct  the  light  against  the  ceiling 
are  ugly,  since  they  are  concealed  from  view,  and 
in  effecting  this  concealment,  any  exterior  form 
may  be  used.  Hence,  one  is  not  limited  in  choice 
to  a  few  varied  designs  in  glassware,  which,  viewed 
from  a  distance,  look  more  or  less  alike. 

The  florist  may  utilize  his  floral  baskets  to  house 
his  lighting  equipment,  the  wine  merchant  his 
casks  (iron  bound)  hanging  from  chains  and  the 
druggist  his  symbolic  urns,  or  mortar  and  pestle. 
There  is  absolutely  no  limit  to  the  expression  of 
originality  in  designing  lighting  of  this  type,  ex- 
cept the  artistic  perception  and  originality  of  the 
designer.  Diagrams  show  how  these  reflectors  of 
pure  silver  are  grouped  and  placed  within  bowls 
of  a  composite  material,  called  "compone"  which 
can  be  finished  to  resemble  exactly  any  metal  fix- 
ture finish — old  brass,  brushed  brass,  ivory,  verde 
antique,  Pompeiian  bronze,  etc.  (Page  83.) 

In  rebuttal  of  the  assertion  that  indirect  lighting 
equipment  is  too  greatly  influenced  by  deposition 
of  dirt  to  be  practical,  the  photographs  opposite 
page  53  illustrate  indirect  lighting  on  ver- 
andas as  contrasted  with  the  ordinary  fixtures 


76  THE   LIGHTING   BOOK 

used.  The  same  size  lamp  was  common  to  both 
fixtures — namely,  one  40  watt  tungsten,  and  the 
difference  depicted  by  the  camera  is  no  greater 
than  actually  appears  to  the  eye. 

This  particular  installation,  one  of  several  in 
the  locality,  receives  a  casual  dusting  with  a  dry 
cloth  about  every  three  months. 

Of  course,  in  lighting  a  room  generally,  as  in- 
direct lighting  does,  there  is  not  the  high  bright 
light  which  obtains  directly  below  a  single  direct 
light.  On  the  other  hand,  where  with  such  low 
general  illumination  beneath  the  shade  but  few 
persons  could  read  comfortably,  the  general  light- 
ing enables  one  to  read  in  any  part  of  the  room  indi- 
rectly lighted.  Let  every  one  try  this  experiment 
on  fixtures  with  upright  or  pendant  gas  or  electric 
lamps.  Shape  a  piece  of  white  cardboard  funnel 
like,  and  place  it  under  the  lamp  (if  pendant)  or 
over  it  (if  upright)  so  that  the  useful  horizontal 
light  from  the  filament,  or  gas  mantle,  is  redi- 
rected upwards  on  the  ceiling.  The  immediate 
relief  to  the  eye  and  the  pleasing  aspect  of  the 
room  with  its  wonderful  increase  of  useful  light 
will  seem  like  a  magical  transformation,  and  in 
the  majority  of  cases  it  is  a  matter  of  simplicity 
and  inexpense  to  make  the  effect  permanent. 


X 

INDIVIDUALITY  IN  LIGHTING 

"For  the  apparel  oft  proclaims  the  man." 

WE  have  alluded  to  the  possibilities  afforded 
by  indirect  lighting  for  distinctive  artistic 
effects,  but  this  does  not  imply  that  fixtures  must 
necessarily  be  purchased  in  their  attainment. 

Perhaps  the  lighting  fixtures  under  considera- 
tion are  so  ugly  that  their  removal  would  be  de- 
sirable, and  in  that  event  it  is  not  necessary  to  re- 
place them  by  others,  particularly  where  a  low  ceil- 
ing would  be  greatly  improved  by  eliminating 
dangling  impediments  of  brass  and  iron  which 
serve  to  exaggerate  the  lowness  of  a  room.  An 
interior  may  be  lighted  by  indirect  lighting,  the 
reflectors  being  concealed  above  and  below  the 
mantle  top.  Two  60  watt  tungstens  in  pure  silver 
coated  reflectors  shaped  so  as  to  redirect  the  light 
well  toward  the  center  of  the  ceiling,  and  not  on 
the  adjacent  wall,  are  used,  the  control  being  in  the 
form  of  a  pull  chain  socket  concealed  at  the  mantle 
side  next  the  wall.  In  this  way,  when  pianos  are 

77 


78  THE    LIGHTING    BOOK 

placed  cornerwise,  one  lamp  and  reflector  con- 
cealed behind  will  beautifully  illuminate  an  in- 
terior. Very  often  there  are  urns  and  pedestals 
in  the  home  which  can  be  converted  into  pleasing 
indirect  lighting  units,  simply  by  placing  reflec- 
tors and  lamps  within  them,  and  without  changing 


A  FORM  OF  INDIRECT  LIGHTING  UNIT 
AVAILABLE  FOR  HOME  LIGHTING  EF- 
FECTS 

in  the  least  their  original  exterior  appearance. 
There  are  thousands  of  designs  which  are  appli- 
cable to  such  usage,  and  which  may  be  obtained  in 
various  material  ranging  from  ordinary  plaster 
and  terra  cotta  to  wonderful  hand  work  rendered 
in  wood  and  marble.  The  reflector  in  the  dia- 
gram is  represented  in  part  section  to  show  the 
proper  position  of  the  lamp  filament  with  refer- 
ence to  the  redirecting  surface.  In  the  same  way 


Indirect   lighting  is    applicable  to   portable   lamps.     The   power- 
ful reflector  throws  the  light  upward  to  the  ceiling  whence  it  is 
diffused.      Here    the    light    is    directed    against    the    glass    bowl 
which   is   used  as  a  secondary  source  of  distribution. 


Users  of  gas  should  be  aware  that  drop  cords  may  be  used 

from  plugs  in   the   floor.     There  also   is  an   improved   device 

by  which  a  hanging  table  light  can  be  utilized  for  gas  much 

as  it  is  for  electricity 


INDIVIDUALITY   IN    LIGHTING    79 

the  top  of  a  gas  mantle  should  not  project  above 
the  top  of  the  reflector. 

The  Congress  Hotel  dining-room  shows  an  in- 
terior which  is  an  excellent  example  of  original 
artistic  treatment  of  light  as  a  part  of  decoration. 
When  one  enters  this  interior,  the  first  sensation 
is  one  of  surprise — where  is  the  light  coming 
from?  An  involuntary  glance  at  the  ceiling  fol- 
lows, but  fails  to  reveal  aught  resembling  those 
ornate  masses  of  gold  and  bronze  which  for  want 
of  a  better  name  some  unknown  humorist  has 
christened  "fixtures."  This  then  is  the  secret  of 
attraction  in  lighting,  as  in  all  things :  have  some- 
thing different.  But  here  the  difference  is  not 
alone  due  to  the  fact  that  for  the  tiresomely  con- 
ventional ceiling  fixtures  have  been  substituted 
beautiful  pedestal  urns  with  reflectors  concealed 
within,  for  there  is  something  else  more  subtle 
than  any  material  thing  which  holds  one  spell- 
bound by  its  mystery  and  charm — and  that  is  color 
— the  psychology  of  light.  For,  in  this  beautiful 
interior  there  prevails  a  warm,  soft  rosy  glow, 
emanating  apparently  from  nowhere,  yet,  which 
lends  to  the  complexion  of  the  fair  sex  the  deli- 
cate flush  of  a  full  blown  rose.  (Opposite  page  60.) 
This  question  of  color  is  important  in  applica- 
tions of  indirect  light — the  more  so  because  it  has 


8o  THE    LIGHTING    BOOK 

been  entirely  ignored — that  is,  from  all  save  the 
viewpoint  of  the  Illuminating  Engineer,  who, 
knowing  that  white  ceilings  reflect  more  light  than 
dark,  and  knowing  little  else,  has  unfailingly  pre- 
scribed white  as  the  only  color  for  indirect  light- 
ing, because  it  is  "economical"  and  "efficient" 
from  the  "utilitarian"  viewpoint.  By  all  means 
let  us  have  lighting  that  is  within  the  means  of  our 
purse,  but  why  ignore  forever  those  vital  consid- 
erations of  "effect"  which  means  so  much  in  dif- 
ferentiating the  atmosphere  of  the  home  from  the 
crude,  ugly  lighting  of  the  store  and  office.  I 
have  repeatedly  explained  and  demonstrated  to 
manufacturers  of  lighting  equipment,  and  their 
salesmen  the  desirability  of  amber  light  in  the 
home.  Within  these  pages  I  have  logically 
proved  the  necessity  for  such  color  modifications. 
I  have  never  yet  heard  of  any  one  who  made  the 
experiment  of  modifying  white  light,  who  was  not 
delighted  beyond  measure  with  the  amber  effect, 
both  from  the  esthetic  and  physiological  view- 
point. Decorators  and  architects  unanimously 
agree  with  me  on  this  poijit,  yet,  those  others  pro- 
fessing, or  posing  as  competent  to  advise  imparti- 
ally on  lighting  matters,  stubbornly  exhibit  a 
preference  for  the  glaring  white  light  of  the  tungs- 
ten lamp.  The  gas  industry  has  intelligently  rec- 


INDIVIDUALITY   IN    LIGHTING    81 

ognized  modern  requirements  in  supplying  the 
amber  light  incandescent  gas  mantle.  We  must 
conclude  therefore  that  those  interested  selfishly 
in  the  sale  of  electric  illuminants  fear  to  face  is- 
sues which  tend  to  awaken  the  mind  of  the  public 
along  lines  of  investigation  opposed  to  the  indis- 
criminate purchasing  of  inadequate  equipment. 
Again,  let  the  individual  decide.  Place  over  the 
top  of  your  indirect  lighting  reflector  a  strip  of 
amber  gelatine  film,  previously  described,  and 
note  the  transformation  in  the  room.  It  is  not  the 
true  color  values  of  material  which  we  desire,  but 
atmosphere,  pictorial  value,  tone,  feeling  and  ex- 
pression of  repose,  which  only  amber  light  can 
give  to  the  home  at  night.  We  have  discussed  in 
a  general  way  the  question  of  dirt  deposition  on 
these  inverted  reflectors  for  indirect  lighting. 
Color  modification  assists  greatly  in  this  relation 
for  if  a  strip  of  gelatine  film  be  placed  in  a  flat 
circular  metal  frame  (formed  by  two  flat  circular 
strips  of  galvanized  iron  riveted  together)  it  is  a 
much  simpler  operation  to  dust  off  the  surface  of 
this  than  to  delve  down  between  the  narrow  con- 
fines of  lamp  and  inner  reflector  surface.  The 
Illuminating  Engineer  exclaims  in  horror:  "But 
the  absorption  of  light?"  What  of  it?  We  have 
reached  a  stage  of  economy  with  modern  ilium- 


82  THE    LIGHTING    BOOK 

inants  when  it  is  no  longer  necessary  to  turn  every 
atom  of  light  to  brilliance  alone  in  an  insane  mis- 
directed, fanatical  pursuit  of  "economy"  and  "ef- 
ficiency." Let  our  lighting  be  a  treat  not  a  threat 
to  our  eyes. 

And  now  there  arises  a  question  which  has  proved 
a  bone  of  contention  for  wrangling  manufacturers 
— principally  because  each  one  wanted  the  bone — 
and  that  is  whether  the  entire  concealment  of  a 
light  source  is  desirable.  Unquestionably,  hu- 
manity has  for  centuries  been  accustomed  to  "see- 
ing" a  source  of  light  at  night.  Unquestionably, 
hereditary  precedent  has  perpetuated  psychologi- 
cally an  influence  on  the  subconscious  mind  that  a 
light  source  to  be  appreciated  at  night  must  be 
seen.  It  has  been  urged  that  no  matter  how  dec- 
orative the  opaque  exterior  of  an  indirect  lighting 
fixture  may  be  that  it  appears  to  the  eye  as  a  dark 
unattractive  suspended  mass.  This  would  be 
true  if  side  walls  and  floors  were  black,  but  it  must 
be  borne  in  mind  that  the  light  diffused  down- 
ward from  the  ceiling  is  in  turn  re-diffused  by  the 
walls  and  floor,  sidewise  and  upwards  respectively. 
Consequently  with  side  walls  and  floors  of  mod- 
erate lightness  in  color,  a  sufficient  amount  of  light 
reaches  the  lower  part  of  the  fixture  to  relieve  any 
suggestion  of  darkness.  It  is  readily  understand- 


INDIVIDUALITY   IN    LIGHTING    83 

able  why  manufacturers  interested  in  the  sale  of 
glassware  alone,  who  for  years  had  things  their 
own  way,  owing  to  public  ignorance,  should  en- 
courage such  beliefs,  but  this  effrontery  in  itself  is 
no  proof  of  the  truth  of  such  assertions. 

From   the   lessons   taught  by   our   comparison 

Iffl 


VARIOUS  FORMS  OF  BOWLS  USED  FOR  FIXTURES.  AT  THE  LEFT  A  SEMI- 
INDIRECT  TYPE.  THE  RIGHT  HAND  FIGURE  SHOWS  MEANS  OF  IL- 
LUMINATING THE  BOWL  WITH  INDIRECT  LIGHTING  EQUIPMENT;  THE 
CENTER  DIAGRAM  is  UPPER  VIEW  OF  THIS  FIXTURE  SHOWING  RE- 
FLECTORS 

booths  we  have  well  in  hand  the  importance  of 
light  utilization,  that  is,  directing  light  where  it  is 
required  for  specific  usages — not  where  it  will  be 
wasted.  Accompanying  diagrams  show  this. 

The  figure  at  the  left  represents  what  glass 
makers  have  been  pleased  to  term  "semi-indirect 
lighting,"  meaning,  presumably,  lighting  which  is 
neither  direct  nor  indirect,  in  which  case  the 


84  THE    LIGHTING    BOOK 

designation  is  quite  appropriate.  If  indirect 
lighting  is  to  be  of  the  slightest  value,  that  is,  if  we 
are  to  obtain  any  benefit  from  the  ceiling  as  a 
secondary  diffusing  and  redirecting  surface,  it  is 
imperative  to  direct  every  ray  of  light  from  the 
lamp  upon  its  surface,  or  what  is  returned  below 
will  be  of  no  value. 

The  glass  maker  has  produced  many  attractive 
bowls  and  urns  in  opal  glass,  which  are  grateful 
and  pleasing  to  the  eye  when  not  over-lighted,  but 
when  lamps  are  arranged  in  cluster  form,  as 
shown,  the  pictorial  value  and  beauty  of  the  glass- 
ware is  not  only  destroyed,  but  the  amount  of  light 
directed  upwards  on  the  ceiling  is  in  most  cases 
not  enough  to  be  of  even  utilitarian  value.  Such 
glassware,  with  lights  so  arranged,  usually  allows 
about  as  much  light  to  pass  downward  through 
the  glass  (transmitted)  as  is  reflected  or  diffused 
upwards,  and  almost  invariably  interiors  mis- 
lighted  in  this  way  are  recognizable  by  bright  spots 
of  light  directly  above  the  fixture  on  the  ceiling, 
with  intermediate  dark  spaces  giving  a  spotty  and 
unattractive  effect.  I  have  never  yet  encountered 
one  of  these  arrangements  where  any  difference 
in  the  amount  of  light  in  the  lower  part  of  the 
room  could  be  detected  after  the  fixtures  were 
covered  by  strips  of  cardboard,  absolutely  prevent- 


INDIVIDUALITY   IN    LIGHTING    85 

ing  any  light  from  reaching  the  ceiling  by  any 
redirective  action  of  the  inner  surface  of  the  glass 
bowl.  This  proves  conclusively  that  quantitatively 
the  light  directed  upwards  by  such  bowls  is  of 
negligible  value,  not  only  from  a  utilitarian  view- 
point but  also  from  an  aesthetic  one  since  a  spotty 
uneven  lighted  ceiling  can  never  be  described  as 
meeting  decorative  or  architectural  requirements. 
Furthermore,  to  reiterate,  in  most  instances  the 
light  wasted  between  the  bare  bulbs,  with  that 
transmitted  through  the  glass  downward,  obliter- 
ates all  design. 

The  diagram  at  the  right  shows  how  a  very 
small  lamp  can  be  placed  below  silver  reflectors 
arranged  to  direct  all  the  useful  light  of  the  lamps 
upwards  without  waste.  The  center  diagram, 
shown  illustrates  the  appearance  of  such  a  fixture 
from  above.  Suitable  glassware  of  a  type  which, 
like  the  alabaster  stone,  lends  itself  gracefully  to 
indirect  lighting  fixtures  is  shown  in  the  photo- 
graph (page  61).  A  wide  variety  of  designs  may 
be  obtained  from  various  glassmakers,  so  at 
present  it  is  possible  for  one  to  select  almost  an 
exclusive  design.  The  requirements  of  the  future 
as  regards  individuality  of  expression  will  force 
glassmakers  to  cast  sectional  pieces  of  glassware, 
conforming  with  the  fixture  designs  of  lighting 


86  THE    LIGHTING    BOOK 

specialists,  and  decorators,  who  must  take  lighting 
in  their  own  hands  if  they  would  have  it  aid,  not 
hinder,  the  expression  of  their  work. 

When  one  lamp  is  sufficient,  silver  reflectors 
may  be  so  applied  as  to  adopt  the  principles  al- 
ready elaborated.  An  attached  opal  cup  diffuses 
sufficient  light  properly  to  illuminate  the  enclos- 
ing glass  bowl. 

Samples  of  the  glassmaker's  art  in  treating  opal 
glass  with  designs  in  bas  relief,  are  represented 
on  page  61.  This  glassware  is  known  as  "Beaux 
Arts  glass"  and  incorporates  within  its  structure 
the  property  of  transforming  harsh  white  light 
into  mellow  amber  radiance.  The  photograph  fac- 
ing page  66  shows  an  interior  lighted  by  a  stand- 
ard indirect  lighting  equipment,  consisting  of 
small  tungsten  lamps  within  opaque  silvered  re- 
flectors within  an  opaque  composite  bowl.  The 
side  walls  and  floor  are  very  dark,  yet,  to  the  eye 
the  design  of  the  bowl  is  very  pleasingly  revealed. 


XI 
LIGHT  IN  THE  HOME 

" Where  glowing  embers  in  the  room 
Teach   light   to  counterfeit   a   gloom." 

LET  us  go  through  the  home  together  apply- 
ing our  knowledge  of  lighting  technique 
wherever  it  can  serve  us  best  in  creating  an  atmos- 
phere of  attraction  and  repose.  In  lighting  any 
interior,  or  exterior,  we  must  first  consider  its  ob- 
jects and  then  arrange  our  lighting  to  best  satisfy 
these  requirements. 

Beginning  at  the  beginning  we  are  now  pre- 
pared to  enter  by  the  front  door, — and  for  con- 
venience we  will  hastily  assume  that  the  street 
lighting  is  all  that  it  should  be,  that  there  are  no 
unsightly  poles  directly  before  the  house,  and  that 
no  dazzling  arc  light,  like  a  rising  sun,  peers  of- 
fensively through  our  front  windows,  turning 
night  into  an  unnatural  day.  Being  on  the  ver- 
anda we  are  naturally  interested  in  its  lighting, 
of  greater  or  less  importance,  depending  on  its 
size.  On  large  verandas,  in  homes  where  social 

87 


THE    LIGHTING    BOOK 


functions  are  the  rule  and  not  the  exception,  the 
veranda  light  becomes  an  important  consideration. 
I  have  explained  the  possibilities  of  indirect  light- 
ing for  such  applications,  and  will  add  that  aside 
from  its  superiority  over  older  systems  from  the 
utilitarian  view  point,  it  appeals  to  me  particularly 
on  account  of  the  varied  and  graceful  manner  in 
which  it  may  be  applied:  perchance  in  a  floral 
basket,  behind  an  ornamental  cornice,  within  an 
urn,  or  in  the  form  of  a  simple,  yet,  distinctive  fix- 
ture, as  previously  illustrated.  There  is  no  more 
thoughtful  way  of  speeding  the  parting  guest  than 
in  lighting  the  path,  so  he  will  not  break  his  neck 
in  stumbling  down  dark  steps.  Of  course,  the 
control  for  veranda  lighting  must  be  placed  inside, 
near  the  door,  and  in  popular  neighborhoods  it  is 
not  amiss,  oftentimes,  to  take  the  precaution  of 
using  lock  sockets — a  device  which  discourages 
free  trade  in  lamps.  With  gas,  remote  pneumatic 
control,  or  an  electric  magnetic  valve,  can  be 
cheaply  installed,  owing  to  the  short  distance  for 
piping,  and  the  very  small  tubes  or  wires  can  be 
"fished"  through  and  above  the  veranda's  ceiling 
without  removing  a  plank  or  defacing  woodwork. 
Electricians  and  contractors  are  not  unwilling  to 
work  along  progressive  lines,  but  the  stereotyped, 
narrow  training  which  they  have  received  from 


LIGHT   IN   THE    HOME  89 

the  manufacturer  of  globes,  shades,  and  fixtures, 
has  given  them  the  impression  that  all  homes 
should  be  wired  and  lighted  alike,  with  as  similar 
equipment  as  possible,  thereby  enabling  them  to 
obtain  the  manufacturer's  greatest  discounts  for 
"quantity  lots."  Hence  the  commonplace  mo- 
notonous lighting  of  the  present  day,  a  natural 
result  when  lighting  equipment  is  sold  like  sau- 
sages, by  the  yard. 

Having  lingered  unduly  on  the  veranda,  let  us 
proceed  within,  pausing  for  a  moment  in  the  vesti- 
bule. Here  sometimes  letter  boxes  are  to  be 
found,  and  there  are  keyholes  to  be  discovered  on 
dark  nights.  When  architectural,  or  decorative 
expression  is  of  a  nature  to  justify,  fixtures  in  the 
form  of  lanterns  can  be  used,  but  unless  excep- 
tionally well  designed  it  is  questionable  whether 
they  add  anything  to  the  character  of  an  entrance. 
With  indirect  porch  lighting,  one  of  its  peculiari- 
ties is  that  one  indirect  fixture  placed  before  a 
vestibule  will  direct  sufficient  light  within  for  all 
requirements. 

We  are  now  in  the  reception  hall,  or  just  plain 
hall  whichever  extreme  you  prefer.  The  picture 
opposite  page  67  represents  an  entrance  where  the 
lighting  fixture  is  perfectly  in  accord  with  its  sur- 
roundings esthetically,  but  so  bad  from  a  utili- 


9Q  THE    LIGHTING    BOOK 

tarian  point  of  view  that  a  make-shift  arrangement 
consisting  of  a  ball  above  and  an  ugly  dangling 
lamp  below  had  to  be  added.  Of  course,  the  ball 
was  of  ground  glass,  as  evidenced  by  its  reflection 
from  the  painting  at  the  head  of  the  stairs.  Here 
is  a  case  where  reflectors  could  easily  be  concealed 
within  the  top  of  the  fixture  and  the  whole  entrance 
beautifully  lighted  by  the  soft  diffused  light  from 
the  marble  ceiling  above.  The  photograph  be- 
side it,  shows  a  hall  on  a  less  pretentious  scale.  If 
the  hall  is  to  be  used  for  no  other  purpose  than 
a  depository  for  coats,  hats,  and  umbrellas,  the 
lighting  may  be  localized  in  preference  to  general 
illumination.  General  lighting  always  reveals. 
If  there  is  nothing  in  our  hall  that  would  reflect 
admiration,  the  sensible  thing  to  have  is  lighting 
which  conceals  and  beautifies, — always  with  due 
regard  for  the  necessities.  Hence,  if  a  hall  mirror 
is  frequently  used,  the  features  of  persons  using  it 
must  be  sufficiently  lighted.  In  such  cases  side 
wall  brackets,  such  as  described  for  bathroom 
lighting,  only  of  more  attractive  design,  can  be 
used.  When  there  is  no  porch  light,  the  light  of 
the  hall  must  be  so  general  and  far  reaching  as  to 
reveal  the  features  of  visitors.  This  can  be  accom- 
plished more  easily  with  gas  than  with  electricity, 
by  turning  the  light  up  and  down.  The  fixture 


LIGHT    IN   THE    HOME  91 

shown  in  this  case  is  an  attractive  opal  globe, 
placed  over  a  Welsbach  reflex  light.  The  remote 
pneumatic  control,  which  I  have  previously  men- 
tioned, is  conveniently  placed  near  the  door,  and 
is  designated  by  an  arrow. 

Passing  on,  we  enter  the  living-room.  Here  is 
an  interior,  which  under  average  conditions  must 
serve  several  purposes,  and  each  of  these  require 
special  lighting.  First  we  must  consider  occasions 
when  a  subdued  light  would  be  agreeable,  and 
these  are  numerous.  All  during  the  day  the 
woman  in  the  home  sees  the  same  walls,  the  same 
decorations,  the  same  pictures.  Daylight,  no 
matter  how  well  modulated,  reveals  all  these 
things.  Hence  at  night,  if  artificial  light  can 
lend  an  air  of  mystery  to  the  surroundings  by 
subduing  the  light  on  the  side  walls,  there  is  an 
added  charm  to  such  lighting  which  comes  as  a 
welcome  change  each  night.  This  effect  is  ob- 
tained by  the  portable  reading  lamp,  which  has 
been  previously  discussed,  and  the  effect  of  an  in- 
terior so  lighted  appears  facing  page  72.  When 
general  lighting  in  such  room  is  extinguished  and 
the  portable  lighted  the  brightness  of  the  side  wall 
fades,  and  is  replaced  by  a  mysterious  veil  of 
shadow  beneath  which  the  walls  recede,  giving 
to  the  illusion  a  semblance  of  perspective  which 


92  THE    LIGHTING    BOOK 

is  decidedly  attractive.  Old  familiar  objects  are 
not  quite  so  recognizable;  their  subdued  aspect 
adds  a  new  charm,  and  everything  in  the  room  is 
conducive  to  repose — if  the  light  is  right. 

The  table  lamp  shown  is  one  of  many  types.  By 
virtue  of  its  high  pedestal  it  distributes  the  light 
over  a  wide  area.  If  a  longer  exposure  had  been 
made,  the  floor  would  appear  as  bright  as  the  table 
top,  even  to  the  doorway,  and  in  choosing  table 
lamps  it  is  well  to  remember  this  point — the  higher 
the  pedestal  the  wider  the  area  of  distributed  light. 

Some  portable  lamps  are  so  faulty  in  construc- 
tion that  the  lamps  themselves  are  a  constant  factor 
of  annoyance  to  those  seated  about  the  table.  In 
such  cases  it  is  best  to  cover  the  bottom  of  the  large 
art  glass  shade  with  fine  linen,  stretched  by  lacing 
on  a  wire  hoop,  which  in  turn  is  secured  within  the 
shade  rim  by  small  wires  placed  at  infrequent  in- 
tervals. This  diffusing  screen  entirely  hides  the 
ugly  unfinished  mechanism  of  the  lamp  and  en- 
ables a  layer  of  amber  film  to  be  placed  atop  it, 
obtaining  thereby  the  visual  comfort  of  the  oil 
lamp.  Perhaps  it  may  then  be  necessary  to  use 
larger  bulbs,  consuming  a  bit  more  energy,  but  in 
such  extreme  cases  it  is  generally  found  more 
economical  to  pay  the  difference  to  the  lighting 


LIGHT   IN   THE    HOME  93 

company  than  to  the  oculist.  And  the  cost  of  the 
extra  light  is  not  apt  to  be  great. 

Opposite  page  73  is  the  effect  of  the  same  in- 
terior revealed  by  indirect  lighting  with  gas.  The 
hollow  chains  conduct  the  gas  to  a  Welsbach 
mantle  within  a  silver  reflector  fitted  with  a  small 
diffusing  opal  cap  (previously  illustrated)  which 
illumines  the  enclosing  bowl  of  Beaux  Arts  glass, 
just  sufficiently  to  bring  out  its  beauty.  This  gen- 
eral lighting  of  a  living-room  is  required  when 
company  is  present,  and  when  one  desires  to  at- 
tract attention  to  fine  furniture  and  book  cases 
filled  with  handsomely  bound  volumes  of  those 
books  one  is  supposed  to  read.  No  matter  how 
unprepossessing  our  ceiling  fixtures  may  be,  it  is 
possible  to  modify  its  light  as  to  color,  and  in 
eliminating  glare,  so  these  two  systems  of  local 
and  general  lighting,  both  so  necessary  in  living- 
rooms,  can  be  enjoyed  by  almost  every  one.  The 
center  table  is  the  best  place  for  the  portable  lamp, 
because  it  gives  a  wide  range  of  useful  light,  and 
that  tables  can  be  placed  centrally  without  giving 
an  overcrowded  effect. 

Both  local  and  general  illumination  can  be  com- 
bined in  one  portable  lamp,  thanks  to  the  ingenuity 
of  makers  of  standard  indirect  lighting  equipment. 


94 


THE    LIGHTING    BOOK 


So  it  is  possible,  without  changing  ceiling  fixtures, 
to  obtain  both  effects  from  one  source. 

The  mechanism  of  such  a  lamp  is  very  simple. 
(See  diagram.)     The  tungsten  lamp  "G"  is  placed 

A 


THE  MECHANISM  OF  AN  INDIRECT  LIGHTING 
EQUIPMENT  FOR  PORTABLE  LAMPS  WITH  PRO- 
VISION FOR  PRODUCING  THE  EFFECT  OF  LOCAL 
LIGHTING 

within  a  silver  covered  reflector  "A,"  supported 
by  the  holder  "B."  Light  escaping  from  the 
lower  exposed  portion  of  the  lamp  strikes  the  flat 
white  surface  "C"  and  is  diffused  upwards  against 
the  outside  of  the  reflector,  which  is  finished  in 
silver,  and  redirects  the  light  against  the  exterior 


LIGHT   IN   THE    HOME          95 

silk  shade,  giving  just  the  right  effect.  The  small 
lamps  "D"  are  lighted  when  a  subdued  effect  is 
desired  in  the  room:  both  large  and  small  lamps 
are  controlled  by  the  pull  chain  switches  "E"  and 
"F."  The  illustration  opposite  page  78  shows  an 
interior  lighted  generally  by  one  of  these  lamps, 
the  light  being  directed  against  the  glass  bowl 
above,  which  serves  as  a  redirecting  surface  in 
conjunction  with  the  ceiling  by  directing  rays  of 
light  about  the  room. 

A  word  as  to  drop  cords  hanging  from  fixtures 
to  table  lamps.  These  should  be  avoided  when 
possible  since  their  use  detracts  greatly  from  the 
general  ensemble.  Outlets  can  be  located  beneath 
tables  without  trouble  or  expense.  For  gas  table 
lamps,  there  is  a  new  floor  baseboard  connection 
which  deserves  mention,  and  is  constructed  so  that 
the  gas  cannot  be  turned  on  accidentally.  It  may 
also  be  applied  within  dining-room  domes,  af- 
fording great  convenience  in  connecting  gas  chaf- 
ing dishes,  percolators,  toasters,  etc.,  as  shown  op- 
posite page  79. 

Passing  now  from  the  living-room,  we  may  skip 
the  library,  where  the  relations  existing  between  a 
local  and  general  lighting  together  with  decora- 
tive restrictions  are  such  that  the  indirect  method 
best  meets  average  conditions. 


96  THE   LIGHTING    BOOK 

Now  as  to  our  dining-room,  lighting  here  is 
greatly  a  matter  of  individual  taste.  Some  like 
the  conventional  dome,  others  detest  it  and  prefer 
candelabra  on  the  table.  Obviously  no  hard  and 
fast  rules  regarding  decoration  can  be  laid  down. 
Neither  can  lighting  be  universally  prescribed  so 
far  as  fixture  design  is  concerned.  If  domes  are 
used,  by  all  means  utilize  your  light  so  that  none 
is  wasted,  as  I  have  explained.  Sometimes  the 
side  wall  is  selected  as  a  desirable  location  for 
lamps,  but  unless  they  are  very  much  subdued  the 
effect  is  invariably  bad.  The  photograph  facing 
page  84  shows  this  point.  The  lights  above  the 
buffet  produce  a  spotty  effect  against  the  side  wall, 
which  is  neither  decorative  or  useful.  By  cover- 
ing the  tops  of  the  shades,  and  placing  paper 
screens  on  the  inside  half-sections  of  shade  next 
the  wall,  this  condition  can  be  corrected.  Never 
expect  lights  so  placed  to  do  more  than  harmonize 
and  assist  in  decorative  expression. 

Bedroom  lighting  also  involves  local  and  general 
systems.  So  far  as  the  dresser  is  concerned,  gen- 
eral lighting  obviates  the  necessity  for  the  local 
wall  lights.  (Op.  page  85.)  The  small  portable 
lamp  is  decidedly  a  convenience. 

In  the  bedroom  facing  page  90  the  illumination 
is  not  general  enough  to  meet  local  requirements. 


LIGHT   IN   THE    HOME          97 

A  modern  type  of  gas  fixture  is  shown,  but  the 
glassware  represented  is  of  the  kind  to  be  avoided, 
resembling  too  closely  the  commercial  types  of 
white  opal,  which  have  become  almost  as  common- 
place and  obnoxious  as  prismatic  glass. 

Before  ending  our  impromptu  visit,  let  us  speak 
of  the  kitchen  light.  The  arrangement  opposite 
page  91  is  to  be  avoided.  The  single  light  casts 
shadows,  and  prevents  those  standing  before  the 
range  and  sink  from  getting  sufficient  light  on 
their  work.  It  is  desirable  to  have  one  light 
source  meet  all  the  requirements  of  general  and 
local  working  conditions,  but  this  can  only  be  ac- 
complished by  indirect  lighting.  When  the  entire 
ceiling  of  the  kitchen  becomes  a  redirecting  sur- 
face, it  is  possible  for  a  person  standing  opposite 
the  gas  range  to  see  inside  ovens  with  glass  doors 
to  the  very  back  of  the  oven. 


XII 
LIGHT  AND  DECORATION 

"Come  forth  into  the  light  of  things 
Let  Nature  be  your  teacher." 

AND  now  to  turn  from  things  utilitarian,  let 
us  consider  the  possibilities  of  light — recon- 
ciled with  decoration  in  making  the  home  attrac- 
tive. It  is  not  enough  that  light  should  serve  only 
as  a  means  of  lighting  our  difficulties — solving 
the  problem  of  more  or  less  light  here  and  there. 
General  light  and  local  lighting,  however  grace- 
fully executed,  still  have  something  to  be  desired, 
something  which  even  the  most  unpretentious 
home  connot  afford  to  be  without.  Because  beau- 
tiful Italian  alabaster  bowls,  and  urns,  and  pedes- 
tals, rendered  in  hand-carved  woods,  and  exquisite 
marbles  are  expensive,  one  should  not  feel  that 
the  pleasure  of  expressing  individuality  in  light- 
ing is  denied  him.  These  effects  can  all  be 
approximated  with  cheap,  good  looking  sub- 
stitutes— graceful  sconces  and  wall  brackets  in 
plaster,  pedestals  and  urns  in  composition,  or  ordi- 


LIGHT   AND    DECORATION      99 

nary  plaster  (treated),  glassware  in  the  form  of 
bowls  and  vases  made  in  this  country,  which  al- 
most defy  detection  when  compared  with  the 
genuine  hand  carved  alabaster.  Those  who  have 
the  natural  artistic  perception  of  the  decorator — - 
a  quality  which  might  be  natural  but  can  never  be 
gracefully  acquired  or  cultivated  by  the  unimagi- 
native, though  women  possess  this  gift  to  a  degree 
superlative — can  put  together  a  conglomerate 
mass  of  miscellaneous  material  and  express  some- 
thing which  is  really  attractive,  artistic  and  beau- 
tiful. All  lighting,  whether  decorative  or  utili- 
tarian, must  meet  physiological  requirements. 
The  lighting  fixture  which  is  glaring  and  hurts 
the  eye  can  never  be  termed  artistic,  or  even  use- 
ful. On  the  contrary,  light  and  decoration  prop- 
erly combined  always  satisfy  the  physiological 
necessities  of  eye  comfort  if  not  eye  utility. 

Let  us  see  how  light  can  be  used  to  appeal  to 
the  imagination  and  create  an'  atmosphere  replete 
with  charm  and  mystery. 

The  photograph  facing  page  96  shows  a  recon- 
ciliation of  light  and  decoration.  It  is  to  be  re- 
gretted that  the  camera  does  not  reveal  in 
this  case  the  color  contrasts,  which  are  a  verita- 
ble treat  to  the  eye.  The  small  art  lamp  beside 
the  piano  consists  of  a  plaster  column  and  capital 


IPO         THE    LIGHTING    BOOK 

worth  50  cents.  Through  a  centrally  drilled  hole 
wires  lead  from  the  base  to  an  electric  socket  atop 
the  column  and  within  the  glass  dome,  which  is  of 
mottled  glass,  old  rose  in  tone,  with  suggestions 
of  lighter  and  darker  color  modulations,  all  blend- 
ing charmingly.  Such  a  shade  may  be  obtained 
for  less  than  one  dollar,  with  its  holder,  which 
fits  over  the  socket,  within  which  is  an  attachment 
for  obtaining  various  degrees  of  light. 

The  small  round  bulb  tungsten  lamp  is  so  high 
up  within  the  shade  that  it  is  invisible  to  persons 
seated  in  the  room  or  at  the  piano.  A  piece  of 
amber  gelatine  film  held  together  in  cylindrical 
form  by  two  ordinary  wire  paper  fasteners,  com- 
pletes the  color  modification,  and  the  lamp  is  sup- 
ported by  a  plaster  capital  finished  in  water  colors 
to  harmonize  unobtrusively  with  the  dark  green 
wall.  Against  this  practically  neutral  background 
(at  night)  this  graceful  lamp  with  its  shade  of 
old  rose  is  just  bright  enough  to  emphasize  its 
value  as  a  decorative  symbol.  A  touch  of  a  switch 
and  the  music  page  becomes  bright  without  spoil- 
ing the  effect.  The  features  of  a  soloist  standing 
by  the  accompanist,  facing  the  occupants  of  the 
room,  are  suffused  with  a  rosy  and  becoming  flush, 
relieving  even  an  unnatural  pallor.  Another 
decorative  treatment  of  piano  lights  (frontispiece) 


LIGHT   AND    DECORATION'   101 

is  the  use  of  candlesticks  with  appropriate  silk 
shades.  These  must  not  be  over  lighted.  Too 
bright  lights  in  decorative  shades  destroy  their 
pictorial  effect,  and  annoy  the  eye. 

Within  the  shade  of  the  side  lamp — again  on 
page  96 — an  opaque  screen  of  asbestos  placed  close 
to  the  lamp  prevents  the  splotch  of  wall  light  (as 
typically  shown  facing  page  84).  The  small  pic- 
ture artistically  placed  below  the  lamp  is  lighted 
with  a  dull  red  glow,  produced  by  a  small  "V" 
shaped  section  of  red  gelatine  film  placed  within 
the  shade  directly  above.  Thus  the  "Fall  of  Baby- 
lon" suggests  to  the  mind,  by  the  psychological  in- 
fluence of  red  light,  that  vibrant  sense  of  impend- 
ing disaster  which  is  the  predominant  theme  in 
this  wonderful  painting.  Above  this  small  pic- 
ture is  a  water  color  reproduction  of  Burne-Jones' 
famous  work  "The  Awakening  of  Galatea,"  and, 
suspended  from  the  jaws  of  a  gargoyle  by  antique 
chains  hangs  a  plaster  replica  of  an  old  Egyptian 
urn.  Within,  a  lamp  placed  in  a  small  silver 
coated  reflector  covered  with  scarlet  gelatine  film 
casts  a  rosy  glow  upwards,  which  in  turn  is  re- 
diffused  downwards  by  the  ceiling,  conveying  with 
just  sufficient  emphasis  the  flesh  tints  betokening 
the  awakened  life  of  the  beautiful  Galatea.  The 
lower  portion  of  the  body  receives  just  a  touch  of 


102         TPJE    LIGHTING    BOOK 

white  light  from  a  slit  in  the  side  of  the  urn, 
enough  to  mark  the  gradation  twixt  marble  and 
flesh.  Below,  the  figure  of  the  sculptor  Pygmalion, 
kneeling  reverently  at  the  base  of  his  masterpiece, 
is  barely  revealed  beneath  impressive  shadows. 
Thus,  the  interpretation  of  the  artist  is  enhanced 
and  the  theme  of  this  legend  of  ancient  Greece 
embellished  by  light  and  decoration  combined. 
From  any  viewpoint  in  the  room  the  effect  is 
equally  perfect,  there  being  no  glaring  reflection 
from  the  picture-glass,  so  characteristic  of  all  our 
art  gallery  lighting. 

Above  the  piano  is  a  small  cabinet,  serving  to 
support  a  transparency  invisible  by  day  but  at 
night  revealing  two  little  owls  upon  a  tree  branch 
sharply  silhouetted  against  the  full  moon.  These 
transparencies  are  called  Spookie  Shades  and  may 
be  obtained  in  a  wide  variety  of  designs — they  are 
most  inexpensive.  The  player  at  the  piano  by  the 
touch  of  a  switch  may  diminish  or  increase  the 
quantity  of  light  on  his  music  without  destroying 
the  pictorial  effect  by  a  burst  of  light — the  music 
page  alone  being  brightened.  In  other  parts  of 
the  room  light  has  been  directed  upon  a  picture 
or  even  shines  through  the  canvas  of  a  work  in 
oils  by  small  lamps  placed  against  white  asbestos 
grounds,  or  in  small  home  made  reflectors  of  as- 


A  reconciliation  of  light  and  decoration.     Here  touches  of 

light   are   used  artistically   in    co-operation   with   the    fixed 

articles  of  decoration.     Even  the  spirit  of  the  pictures  is 

interpreted  by  light. 


An  ingenious  treatment  of  a  narrow  hall  to  overcome  the 
usual  canon-like  effect.  The  walls  are  subdued  and  a  pale 
green-blue  light  cast  through  lattice  counterfeits  moonlight. 


LIGHT   AND    DECORATION     103 

bestos  concealed  beneath  architectural  projections. 
Thus  where  an  object  is  to  be  emphasized  or  its 
effect  heightened — light  may  be  used  to  bring  out 
its  beauty. 

In  these  decorative  touches  of  light,  the  small 
electric  lamps  offer  a  ready  means  of  attaining 
many  pleasing  effects.  Perhaps  the  best  way  is  to 
use  what  is  known  as  a  transformer,  which  cuts 
down  the  regular  commercial  voltage  supplied  at 
one  hundred  and  ten  volts  to  six  or  eight  volts. 
This  voltage  involves  no  fire  risk,  consequently 
small  silk-covered  wires  of  the  same  color  as  the 
wall  paper  can  be  readily  concealed  and  distributed 
without  difficulty  or  expense.  When  the  main 
switch  is  open,  no  electricity  can  pass  through  the 
transformer,  and  the  lighting  of  the  small  lamps, 
of  course,  denotes  that  the  switch  is  closed — hence 
they  constitute  their  own  danger  signal.  In  con- 
cealing these  small  bulbs  within  vases,  to  give  life 
to  a  sprig  of  blossoms  therein,  small  reflectors  of 
white  asbestos,  funnel-shaped,  may  be  easily  made. 

Be  sure  that  the  light  radiating  portion  of  the 
lamp  lies  well  within  the  reflector,  else  its  redirect- 
ing powers  will  be  nil.  A  touch  of  light  on  the 
dial  of  an  old  clock,  the  beautifying  of  a  picture, 
as  described  in  previous  pictures — the  glow  of  an 
open  hearth,  and  other  and  innumerable  touches 


iQ4         THE    LIGHTING    BOOK 

of  light — used  as  an  artist  would  apply  his  brush 
to  a  painting — are  only  limited  by  the  imagination 
and  artistic  perception  of  the  individual,  which  is 
measured,  incidentally,  by  the  finished  appearance 
of  his  work. 

It  is  to  be  regretted  that  electric  illuminants  may 
not  be  so  conveniently  regulated  as  gas.  The  satis- 
faction of  turning  a  lamp  up,  or  down,  gradually, 
in  perfect  harmony  with  one's  various  wishes,  is 
very  great.  True,  there  is  an  electrical  attach- 
ment on  the  market  which  accomplishes  this  in  a 
way,  but  the  various  gradations  are  too  abruptly 
marked,  and  its  application  is  limited.  To  those 
who  appreciate  the  ability  to  control  electric  light 
in  the  home  with  the  same  facility  as  gas,  the  use 
of  "dimmers"  such  as  are  used  in  producing 
theatrical  effects,  are  recommended.  These  are 
obtainable  in  various  sizes,  and  may  be  placed  on 
the  wall  near  the  point  of  control  or  switch.  Very 
often  they  may  be  concealed  at  the  side  of  a  piano 
or  behind  a  large  picture  frame.  They  consist  of 
a  resistance  wire  imbedded  in  fire-proof  material 
and  contact  with  the  wall  is  prevented  by  project- 
ing arms,  which  serve  to  hold  them  in  place.  Any 
intelligent  electrician  will  know  how  to  install 
them  in  accordance  with  the  regulations  of  the 
Board  of  Fire  Underwriters. 


LIGHT   AND    DECORATION     105 

On  a  bookcase  (page  97)  a  simple  candlestick 
with  its  shade  of  pink  silk  delicately  illumines  the 
face  of  an  old  French  clock,  and  brings  out  the 
rich  brown  tints  of  the  old  wood,  while  at  its  base 
the  lines  of  a  bronze  are  suggestively  relieved  by 
silhouette. 

Oftentimes  the  pink  silk  candle  shade  which  one 
buys  (under  daylight  conditions)  because  of  its 
desirable  color  for  a  certain  contrast  background, 
when  placed  in  position  over  its  miniature  lamp, 
and  viewed  by  transmitted  rays  of  artificial  light, 
with  chameleon-like  perversity  turns  white! 

Hence  this  little  silk  shade,  which  by  day  blends 
so  charmingly  and  inauspiciously  by  contrast  with 
its  decorative  surroundings,  by  night  becomes  of- 
fensively predominant,  detracting  from  the  beauty 
of  the  ensemble. 

The  use  of  this  gelatine  film,  available  in  all 
colors,  enables  one  to  obtain  as  agreeable  an  effect 
at  night  as  by  day — without  impairing  the  appear- 
ance of  the  shade  so  treated  under  daylight  con- 
ditions. 

Another  wonderful  effect  is  inexpensively  pro- 
duced by  diffusing  a  soft  light  through  a  panel- 
skylight  of  stained  glass  set  in  the  ceiling  of  a  bay- 
window  embrasure.  The  light  shining  down 
upon  a  fern  is  like  the  glow  of  sunset  (page 


io6         THE    LIGHTING    BOOK 

52).  This  involves  a  simple  wood  framework 
with  panels  of  diffusing  glass.  Two  40  watt  tung- 
sten lamps  attached  to  the  ceiling  in  silver  covered 
reflectors  direct  light  downward  through  the  glass 
— a  pull  socket  with  the  pendant  chain  concealed 
behind  the  portieres  affords  a  reliable  means  of 
control.  The  front  of  this  skylight  may  be  masked 
by  a  false  wall  or  border,  extending  above  the 
molding  line.  This  may  be  formed  of  tarred 
paper,  painted  over,  and  can  be  used  as  an  effect- 
ive situation  for  art  plaster  relief  work  in  flat 
panel  format  (facing  page  97) .  Behind  in  a  lamp 
box,  a  transparency  depicting  an  impressionistic 
scene,  gives  the  suggestion  of  an  extensive  perspec- 
tive through  the  Moorish  arches — a  touch  of  real- 
ism in  light  and  decoration  made  possible  by  the 
economy  and  durability  of  small  tungsten  lamps. 
Opposite  page  102  is  pictured  light  used  as  an  ar- 
tist does  his  brush  in  delicately  emphasizing  de- 
tails. Below  a  landscape  in  water  color  a  candle- 
stick with  a  pink  silk  shade  softly  reveals  the  pic- 
ture, the  pink  flowers  in  the  foreground  seeming  to 
be  a  part  of  the  shade.  This  same  floral  motive  is 
further  emphasized  by  a  sprig  of  blossoms  in  a 
tall  urn  at  the  right,  within  which  just  enough 
light  escapes  upwards  to  give  a  touch  of  life  here 
and  there  to  the  drooping  branches  with  their 


LIGHT   AND    DECORATION     107 

pretty  blossoms.  To  the  left,  seated  upon  an  an- 
tique jar,  a  Billiken  is  revealed  in  a  ruddy  glow, 
warming  his  toes  and  grinning  amiably  the  while. 
The  strong  directional  light  from  below  gives  the 
requisite  degree  of  shadow  contrast  necessary  to 
properly  convey  his  grotesque  expression.  The 
silk  shade  allows  enough  light  to  pass  below  barely 
to  reveal  a  delicate  bronze  and  an  exquisite  sample 
of  cloisonne  ware.  Beneath  the  shelf  on  which 
these  rest,  is  a  color  reproduction  of  Maxfield  Par- 
rish's  "Old  King  Cole  and  his  Court."  Directly 
below  the  enthroned  figure  of  the  merry  monarch,, 
a  light  concealed  in  a  small  trophy  cup  illumines; 
the  king's  countenance  and  the  expression  of  rather 
forced  gaiety  of  his  court  jesters — perpetually 
obligated  to  laugh  at  the  king's  jokes.  At  either 
side  inexpensive  urns  of  Parian  marble,  lighted  by 
miniature  lamps,  cast  a  soft  glow  over  the  scene. 
Here  is  light  used  so  that  the  eye  is  attracted  and 
pleased.  One  never  tires  of  looking  at  this  pic- 
ture  painted  with  light,  because  it  has  not  violated 
in  the  slightest  any  physiological  and  aesthetic  com- 
mandments. 

These  effects,  though  shown  in  juxtaposition,  are: 
of  course  merely  suggestive,  their  application  suit- 
ing various  situations  not  in  combination.  They 
are  easily  obtained,  if  one  will  only  take  the 


io8 


THE    LIGHTING    BOOK 


trouble  to  try  a  few  experiments,  to  be  judged  by 
the  eye  alone. 

The  hall,  too,  can  be  relieved  of  its  canon-like 
narrowness  and  height,  so  common  to  some  houses. 
Opposite  page  103  is  an  arrangement  where  the 


A  PLAN  FOR  THE  TREATMENT  OF  A  NARROW  HALLWAY:  i,  NARROW 
MOLDING;  2,  BLUE  GELATINE  FILM;  3,  TUBULAR  LAMP;  4,  CURVED 
REFLECTOR;  5,  SUPPORTING  MOLDINGS;  9,  URN  AND  PEDESTAL  WITH 
LIGHT  TO  SHINE  ON  FLOWERS  (e) ;  (a)  LAMP;  (b)  REFLECTOR; 
(c)  SUPPORT 


usual,  tiresomely  conventional  hat-rack  and  um- 
brella-stand are  absent.  From  above  a  latticed 
ceiling  streams  a  light  like  that  of  the  moon,  mak- 
ing it  seem  like  a  loggia  open  to  the  sky.  The  light 
brings  out  softly  the  outlines  of  an  Italian  urn, 
while  above  the  entrance  arch  a  globe  of  soft 


LIGHT   AND    DECORATION     109 

golden  hue  is  contrasted  with  what  appears  to  be 
the  blue  sky  overhead. 

The  drawing  on  page  1 08  is  a  self-explanatory 
diagram  showing  how  to  obtain  this  effect,  which 
may  be  infinitely  varied  to  conform  with  local  con- 
ditions and  individual  preferences. 

The  improved  economic  state  of  modern  illumi- 
nants  has  made  possible  these  new  uses  of  light. 
Unquestionably  there  will  be  still  further  improve- 
ment along  economic  lines.  If  these  suggestions 
shall  be  the  means  of  bringing  home  to  any  one  a 
greater  appreciation  for  those  comforts  and  pleas- 
ures which  artificial  light  has  to  bestow,  and  with 
such  lavish  prodigality,  then  has  the  mission  of 
this  book  been  accomplished. 


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